REVIEWS / Arpiné Rahdjian / soprano

Kritiken

Recensioni

Critiques

Translation: Thomas Genn

"Seraphic was the sound of Arpiné Rahdjian´s solo,..."
(Rheinsche Post, Sopranosolo-Kaddish/Tonhalle Duesseldorf, May 2007)

 "Moreover I was impressed by Arpiné Rahdjian (Donna Elvira) who made her debut on the Paris Opera. Her well rounded and majestic voice fit perfectly to the role of a woman passionately in love with Don Giovanni. Her aria in which she longs for the love of this vile person was breathtaking." 
(Ludus Linguarum, Donna Elvira- Don Giovanni/Opéra La Bastille, Paris, January 2007)

"As the third of the pack, Arpiné Rahdjian (Tamiri) obtained an authentic princess profile with her performance full of dramatic penetrating power and metallic brightness in her opulent soprano."
(Merkur Online, Tamiri-Il re pastore/Salzburg Festival, July 2006)

"Arpiné Rahdjian responds as a primadonna-like king’s daughter, powerful and elegant in good and bad times."
(Die Presse, Tamiri-Il re pastore/ Salzburg Festival, July 2006)

"The young stage cast appears with a beautiful sound, first of all, Arpiné Rahdjian, a rounded-off Donna Elvira, full of fervour and very present from the beginning, followed by Georg Nigl, a Don Giovanni full of facets."
(Liechtensteiner Vaterland, Donna Elvira-Don Giovanni/Feldkirch Festival, May 2006)

"Katharina Persicke as scatterbrained farmer girl, Svetlana Doneva as distinguished Donna Anna and Arpiné Rahdjian as passionate Donna Elvira."
(Reutlinger General-Anzeiger, Donna Elvira-Don Giovanni/Feldkirch Festival, May 2006)

"Arpiné Rahdjian sings a phenomenal Elvira full of fiery drama and intimacy."
(Badische Zeitung ,Donna Elvira-Don Giovanni/Festival Feldkirch, Mai 2006)

"…Donna Elvira (Arpiné Rahdjian): simply irresistible."
(Vorarlberger Nachrichten, Donna Elvira-Don Giovanni/ Feldkirch Festival, May 2006)

" Only Arpiné Rahdjian (as Donna Elvira) with her really powerful timbre stands out from the rest of the cast, consisting of Svetlana Doneva (as Donna Anna) or the erotic Zerlina (Katharina Persicke)."
(Der Standard, Donna Elvira-Don Giovanni/Feldkirch Festival, May 2006)

"Nadia Krasteva...... with a stunning mezzo-soprano, whose quality is even outperformed by the pliant, lucent soprano of Arpiné Rahdjian as Micaela."
(Die Welt, Micaela-Carmen/Hamburg, February 2006)

"... also highly remarkable the performances of A. Richards, A. Vinogradov as well as Arpiné Rahdjian (Micaela), who is convincing with her first-class voice."
(Le petit journal, Micaela-Carmen/State Opera Berlin, November 2005)

"The peak of the performance was an intimately girlish Arpiné Rahdjian letting her soprano unfold, her modestly accentuated appearance and her unbridled devoutness forestall approaching strictness."
(Das Opernglas, Micaela-Carmen, September 2005)

"The ensemble's best singer was not to be found in the title rôle, rather in Micaela: Arpiné Rahdjian, she sings this part with great intensity, fervour and beautiful phrasing."
(L´Opera, Micaela-Carmen, September 2005)

"Also Micaela is more used as a quotation, Arpiné Rahdjian sings the role emphatically and a little bit too dramatically. "
(Münchner Merkur, Micaela-Carmen, July 2005)

"Rahdjian with her expressive and magnificent Micaela is the revelation of the evening."
(Il Giornale della Musica, Micaela-Carmen, July 2005)

"Arpiné Rahdjian, who commands a most pleasing, cello timbered soprano and who would have met with far greater approval in another production, was vocally more impressive as Micaela."
(Der Neue Merker, Micaela-Carmen, July 2005)

"Arpiné Rahdjian thrills with the bloomy lyricisms of her youthful soprano."
(Kleine Zeitung, Micaela-Carmen, June 2005)

"Arpiné Rahdjian could have touched with her magnificent soprano if the stage direction had not distracted so vigorously - especially from her second aria."
(Der Neue Grazer, Micaela-Carmen, June 2005)

"Arpiné Rahdjian (Micaela) is the discovery of the evening, ...rejoicings."
(Kurier, Micaela-Carmen, June 2005)

"Arpiné Rahdjian sings a graceful Micaela, perfectly fitting Harnoncourt's concept."
(Kronenzeitung, Micaela-Carmen, June 2005)

"Arpiné Rahdjian as Micaela is the surprise of the evening."
(News, Micaela-Carmen, June 2005)

"Arpiné Rahdjian's Micaela, with sensual legato and intensively blazing, reminds of Susan Graham's mezzo."
(Libération, Micaela-Carmen, June 2005)

"Luminous and floating on the contrary Arpiné Rahdjian's interesting nascent soprano as Micaela."
(Salzburger Nachrichten, Micaela-Carmen, June 2005)

"Arpiné Rahdjian as Micaela lets lyrical emphasis unfold in this great grand opera."
(FAZ, Micaela-Carmen, June 2005)

"...gentle Micaela with luminescent, lyrical emphasis: Arpiné Rahdjian..."
(Tagesspiegel, Micaela-Carmen, June 2005)

"An unobjectionable cast of vocalists: ...Arpiné Rahdjian as tender Micaela."
(Die Furche, Micaela-Carmen, June 2005)

"Excellent moreover the Micaela of the young Arpiné Rahdjian..."
(Die Welt, Micaela-Carmen, June 2005)

"However with Kurt Streit, Nora Gubisch, a girlish, genial voiced Arpiné Rahdjian as Micaela and dancing figures, which she created, she can work."
(Financial Times, Micaela-Carmen, June 2005)

"Wonderful too Arpiné Rahdjian as Micaela whose clarity in the higher register left nothing to be desired."
(Austria Presse Agentur, Micaela-Carmen, June 2005)

"Arpiné Rahdjian's moving voice lends expression to Agathe's anxiety."
(Nordbayrischer Kurier, Agathe-Der Freischütz, April 2005)

"Arpiné Rahdjian's appropriately estranged but at the same time wonderfully soulful and with feeling satiated singing made this première sensational."
(Frankenpost, Agathe-Der Freischütz, March 2005)

"...experiencing a tidy, excellent phrasing Arpiné Rahdjian."
(Orpheus International Opera Magazine, Fiordiligi - Cosi fan tutte, January 2005)

"... she impressed with magnificent phrasing. Since her Liú of last season, her exquisitely coloured soprano has become fuller, more velvety, deeper and richer."
(L´Opera, Fiordiligi - Cosi fan tutte, December 2004)

"The entire ensemble performed well on the stage, but the most praise goes to Arpiné Rahdjian, a splendid Countess with strong stage presence and perfect vocal technique. Her wonderful soprano voice came into play in all registers."
(L´Opera, Countess Zedlau - Wiener Blut, April 2004)

"... a genuine delight, vocally and theatrically: Arpiné Rahdjian successfully took pains in presenting the role of the Countess Zedlau to the great delight of the audience. She has been awarded prizes many times and with good reason: the award for best stage presence was convincingly justified over the entire evening. Her instructors, Christa Ludwig and Walter Berry, have indeed left their mark."
(Der Neue Merker, Countess Zedlau - Wiener Blut, Salzburg, 2004)

"... a vocal gain for the success of the evening. Possessor of a nearly too strong voice which, however, is splendidly under control, she is also most pleasing to the eye."
(Der Neue Merker, Annina - Eine Nacht in Venedig, 2003)

"In the role of the slave Liú, Arpiné Rahdjian enchanted with her supplely differentiated timbre."
(Der Standard, Liù - Turandot, Klagenfurt, 2003)

"Her moving counterpoint stands as model for a Liú: Arpiné Rahdjian gave a touchingly beautiful and intimate rendition of one of Puccini's typically fragile female portraits."
(Orpheus International Opera Magazine, Liù - Turandot, Klagenfurt, 2003)

"... the young Austrian, Arpiné Rahdjian, received the lion's share of the applause, with good reason, for her faultlessly characterized and moving Liú."
(Die Presse, Liù - Turandot, Klagenfurt, 2003)

"The loveliest voice of the evening along with the adoration of the audience belonged to Arpiné Rahdjian. She sang both arias exquisitely and, above all, displayed splendid pianos."
(Der Neue Merker, Liù - Turandot, Klagenfurt, 2003)

"... sensitively performed, she sang her way to first place."
(Salzburger Nachrichten, International Belvedere Competition, 2002)

"Her fine soprano coupled with an ease of execution bode well for future expectations."
(Badener Zeitung, Konzert, 2002)

"... a truly great talent."
(Wiener Zeitung, International Belvedere Competition, 2002)

"You possess a magnificent voice and the wonderful ability to present songs with genuine feeling and emotional intensity. It is pure joy to hear how you combine bravura and sympathy in your singing."
(Letter from Einzi Stolz, widow of Robert Stolz, 2002)

"Arpiné Rahdjian as Elvira, the avenging angel, delightfully contrasts with her darkly exciting voice to……"
(Der Neue Merker, Donna Elvira - Don Giovanni, 2002)

"The winner of the Operetta Singing Contest, the Austro-Armenian Arpiné Rahdjian, towered far above her competitors."
(Der Neue Merkur, International Belvedere Competition, 2002)