ARPINÉ  RAHDJIAN

Tannhaeuser/Elisabeth, Tyrolean Festival Erl 2011

“Venus..., who at the end had no choice but to succumb to Arpiné Rahdjian’s Elisabeth, who dominated the stage and the final applaus thanks to her colorful soprano.”

(Muenchner Merkur)

“The soprano Arpiné Rahdjian presented a magnificent, vocally powerful Elisabeth.” (www.tt.com, 9.7.2011)

“Arpiné Rahdjian, presenting Elisabeth, is a true delight for your eyes as well as for your ears.”

(Salzburger Nachrichten)

“Arpiné Rahdjian is a fantastic Elisabeth, who--with her wonderful timbre--compellingly mimics the maiden's gentleness.” (Krone)

“..., whereas the pure Elisabeth (blessed, superior: Arpiné Rahdjian) was allowed to approach Tannhaeuser in the second act with an enticing low-necked dress.” (www.der Standard.at)

“Then Elisabeth dies; previously she had greeted the hall beautifully with Arpiné Rahdjian’s blossoming soprano, showing magnanimity under the bright corona and at night, praying for her beloved.”

(www.tt.com, 10.7.2011)

“Elisabeth is Arpiné Rahdjian, a young Austrian with Armenian roots; a sonorous, bright Soprano of remarkable force.”

(www.br-online.de)

“The austro-armenian soprano Arpiné Rahdjian as Elisabeth, solid and flowing, dominated the premier performance.” (www,nmz.de)

Don Giovanni/Donna Elvira, Lucca, Novara, Bergamo 2010

“Glorious highlights among the singers: Arpiné Rahdjian, a passionate and determined Donna Elvira, who lives her role with much emotion,

and Carlo Lepore, a frivolous-acting and in the wonderful aria, Madamina, il catalogo e questo, very humorous Leporello...” (www.gonews.it)

“Arpiné Rahdjian’s passionate, stunning and charming Donna Elvira...” (www.artisallopera.org)

“Arpiné Rahdjian endows her Donna Elvira with a mature and pronounced lyrical soprano timbre.”

(Tribuna Novarese)

“Arpiné Rahdjian is an exceedlingly vivacious Elvira with an impressive timbre.” (www.gopera.it)

Die Fledermaus/Rosalinde, Operahouse Graz November 2009

“Seductive Rosalinde:

Arpiné Rahdjian presents a warm timbred, enticing Rosalinde, who even overpowers the murderous Csardas

(inconceivably disguised with a genuine Russian Kosak cap!) with ease;... ”

(Die Presse)

“Excused as indisposed, Arpiné Rahdjian still shows Rosalinde with a sensuous, smoothly rounded soprano.”  (Kleine Zeitung)

“.., even though announced as indisposed, Arpiné Rahdjian portrays Rosalinde in warm colors, is no diva but a woman with desires and fears.”  (Kronenzeitung)

“As far as vocal harmony is concerned, especially the main characters are convincing: an experienced and entertaining Eisenstein (Herbert Lippert) and a passionate and warm-hearted Rosalinde (Arpiné Rahdjian) sovereignly carry the scenario.” 

(korso.at)

“However, there was also a positive side: Arpiné Rahdjian was vocally for the ears, as optically in “Klimt” - costumes, a welcome sight,...” 

(Die Woche)

“The lead singer is beyond blemish and reproach: Arpiné Rahdjian let herself be announced, but convinced with her well-rounded and evenly led lyrical-dramatic soprano as Rosalinde, single edges in higher notes implied indisposition, her acting mastered the mixture of a woman, longing for love and a Grande Dame sovereignly.”  (gundl.at)

“The evening’s main star is Arpiné Rahdjian as significant (suggestive) Rosalinde.” (Falter)

Die Fledermaus/Rosalinde, Stadttheater Bern, October 2008

“Fortunately this production is enhanced by the vocalists of whom one stands out in particular as a wonderful discovery, namely the Austrian soprano Arpiné Rahdjian (Rosalinde) with her Viennese charm: a truly great voice, wholesome, downright infatuating, faultlessly conveyed in all registers, which filled the theater with unusual euphony. Already with her first appearance the initial tones give evidence of absolute artistic authenticity – this full blooded musician has no need for theatrical exaggerations since her voice alone guarantees a pronounced charismatic presence. One is enchanted with her singing ability, her spirited and with wit sprinkled text interpretation as well as her perfect preparation, fascinated by her elegant characterization of Strauss’ Vienna and, finally, in raptures over the famous csardas in the second act in which she brings the melody and humor equally to flow.” (resmusica)

“He finds an equal partner in Arpiné Rahdjian as his wife Rosalinde. She dominated the vocal part of the operetta with her splendid and expansive soprano which galvanized the audience.” 

(Der Bund)

“Srboljub Dinic animated the Berner Symphony Orchestra to a lively performance with brio, wit and class. This applies also to Bern’s superb vocalists, in particular Arpiné Rahdjian as the true to character Rosalinde. The Viennese born pupil of Mirella Freni fashions great lines just as convincingly as the parlando passages. Her soprano commands widely varying timbre, from silver gleam to darkness.” 

(Solothurner Zeitung)

8th Symphony of G. Mahler/ Tyrolean Festival, July 2008

 “But baritone Michael Kupfer and the female soloists were all fine – notably soprano Arpiné Rahdjian with a voice of promising potential.” 

(musicweb-international)

 Solo soprano/Messa da Requiem-Verdi, August 2007

 “The four soloists (Arpiné Rahdjian, soprano; Dagmar Peckova, mezzo-soprano; Andrej Dunaev, tenor; Michael Schelomianski, bass;) presented the culminating element of the evening and provided the optical highlights as well.  In particular all eyes were riveted on the very lovely Arpiné Rahdjian with her bare shoulders which surely put some naughty notions in some heads.  I could hardly restrain the man sitting next to me from bringing his suit coat to the shivering soprano.” 

(Neue Braunschweiger)

Sopranosolo-Kaddish/Tonhalle Duesseldorf, May 2007

 "Seraphic was the sound of Arpiné Rahdjian´s solo,..." (Rheinsche Post)