ManéGaloyan

Press

• RACHMANINOV The Bells

  BBC Proms

  Jul 2023

  • Sensual languor in the rhapsodic Hallé strings (led by Roberto Ruisi) marked the bells of nuptial bliss, with soprano Mané Galoyan robust and radiant above.

    • The Arts Desk, Boyd Tonkin
    • 27 July 2023

  • Making Proms debuts, soprano Mané Galoyan... offered respectively a ripe, seductive counterpart to the orchestra’s grit and dark vocal heft that blended seamlessly into the chorus.

    • The Guardian, Flora Willson
    • 27 July 2023

• MEYERBEER Le prophète

  Aix-en-Provence Festival

  Jul 2023

  • Soprano Mané Galoyan was an immense delight. A lyric-spinto with much strength and dynamic control. She captivated the audience from moment one of Act one. Among all of her great accomplishments, I must say that the most historical moment is her death scene, accompanied by a beautiful cello solo in the final three minutes or so of the trio,“Ô spectre, ô spectre épouvantable!

    • Operawire, João Marcos Copertino
    • 20 July 2023

• VERDI Luisa Miller

  Oper Köln

  Mar 2023

  • Sie ist eine hinreißende Luisa, deren Gesang technisch perfekt ist und deren Darstellung der Luisa zu Tränen rührt. Ihre Stimme hat die kristallene Klarheit, sich über jedes Orchester zu erheben, die extremsten Koloraturen zu meistern, und eine wundervoll weiche Mittellage, die großen Gefühle der Liebe und Entsagung auszudrücken. Dabei strahlt sie mädchenhaften Charme aus. She is a gorgeous Luisa whose singing is technically perfect and whose performance brings Luisa to tears. Her voice has the crystalline clarity to rise above any orchestra, to master the most extreme coloratura, and a wonderfully smooth middle register to express the great feelings of love and renunciation. She exudes girlish charm. (Translated)

    • Ursula Hartlapp-Lindemeyer, Opernmagazin
    • 11 March 2023

  • Sopraan Mané Galoyan weerspiegelde de kwetsbaarheid van Luisa briljant, haar pianissimi waren hartveroverend. Soprano Mané Galoyan brilliantly reflected Luisa's vulnerability, her pianissimi were captivating. (Translated)

    • Olivier Keegel, Opera Gazet
    • 09 March 2023

  • Mit weißer Bluse, Strickjacke und knielangem Rock ist diese Luisa ein adrettes Mauerblümchen, nicht ohne Selbstbewusstsein, und die junge armenische Sopranistin Mané Galoyan beglaubigt das mit anrührend mädchenhaftem, beweglichem und doch groß auftrumpfendem Sopran. Sie hebt die lyrischen und von der Melodie getragenen Momente hervor und singt die Koloraturen wie nebenbei, agiert damit auch stimmlich ganz im Sinne der Regie. With a white blouse, cardigan and knee-length skirt, this Luisa is a dapper little wallflower, not without self-confidence, and the young Armenian soprano Mané Galoyan certifies this with a touchingly girlish, flexible and yet boasting soprano. She emphasizes the lyrical moments carried by the melody and sings the coloratura casually, acting vocally in the direction of the director. (Translated)

    • Stefan Schmöe, Online Musik Magazin
    • 09 March 2023

• SMYTH The Wreckers

  Houston Grand Opera

  Oct 2022

  • Armenian soprano Mané Galoyan sang with momentum and brilliant high notes, giving a convincing interpretation of Avis's jealous and spiteful temper.

    • Houston Press, D.L. Groover
    • 29 October 2022

• VERDI Rigoletto

  Houston Grand Opera

  Oct 2019

  • Soprano Mané Galoyan shines as Gilda, conveying her innocence and purity of heart through her luminous tone. Her rendition of “Caro nome” enraptured the audience. As the orchestra rested in the aria’s final moments, Galoyan stunned with her flexibility and control, singing with exquisite intimacy that still resonated in a space as large as the Wortham. The opera’s bewildering conclusion—Gilda’s untenable decision to sacrifice her life for the lecherous Duke of Mantua—is made as coherent as possible through Galoyan’s earnest performance.

    • Michael Clark, Houstonia
    • 22 October 2019

  • The role of Gilda may once have belonged to light sopranos, but Mané Galoyan brought it a richness of voice that, alongside the heft of Mayes’ Rigoletto, made Gilda for once sound like her father’s daughter. In Gilda’s first scene with the youth she thinks is a penniless nobody — actually the skirt-chasing duke — Galoyan’s warm, vibrant singing captured the depth of Gilda’s feelings for him. Thanks to Galoyan’s richness, as well as a flowing pace aided by conductor Jordan de Souza, “Caro nome” went beyond sweetness to convey Gilda’s ardor and commitment. At the aria ascended to its close, Galoyan’s silvery pianissimos shined a fresh light on Gilda’s emotional transports. When the duke, having seduced and discarded Gilda, returns her to Rigoletto, Galoyan’s full, vibrant singing made her “Tutte le feste” into a groundswell of anguish. And in the last scene, as Gilda resolves to let the killer Sparafucile assault her rather than the duke, Galoyan’s voice surged atop the ensembles — including the famous Quartet — to lend Gilda heroic stature.

    • Steven Brown, Texas Classical Review
    • 19 October 2019

  • Mané Galoyan’s Gilda demonstrated the expressive value of mezza voce shadings. Her full, strong, diamond-bright lyric soprano could turn a little hard on top, and she smoothed out the coloratura flights and filigree in “Caro nome” a bit, but she floated some lovely pianissimos and commanded all the power needed to drive home the last-act trio.

    • William Albright, Classical Voice North America
    • 02 November 2019