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.”
“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.”
“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.”
“Elisabeth is Arpiné Rahdjian, a young Austrian with Armenian roots; a sonorous, bright Soprano of remarkable force.”
“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.”
“Arpiné Rahdjian is an exceedlingly vivacious Elvira with an impressive timbre.” (www.gopera.it)
Die Fledermaus/Rosalinde, Operahouse Graz November 2009
Arpiné Rahdjian presents a warm timbred, enticing Rosalinde, who even overpowers the murderous Csardas
(inconceivably disguised with a genuine Russian Kosak cap!) with ease;... ”
“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.”
“However, there was also a positive side: Arpiné Rahdjian was vocally for the ears, as optically in “Klimt” - costumes, a welcome sight,...”
“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.”
“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.”
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.”
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.”
Sopranosolo-Kaddish/Tonhalle Duesseldorf, May 2007
"Seraphic was the sound of Arpiné Rahdjian´s solo,..." (Rheinsche Post)
Donna Elvira-Don Giovanni/Opera Bastille, Paris, January 2007
“From the original cast, only Mireille Delunsch as Donna Elvira was replaced by the Austrian soprano Arpiné Rahdjian. Consequently the cast remained outstanding.”
"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."
Mahler’s 4th symphony, Teatro Massimo Bellini, November 2006
“In the final movement the soprano Arpiné Rahdjian ultimately declaimed the strophic lied “Das Himmlische Leben” from the song collection “Des Knaben Wunderhorn” with her clear and harmonious voice. The solo embedded in this instrumental piece lent the work a slightly nostalgic conclusion which is completely in the spirit of longing for the unattainable goal of a model childhood.” (www.)
Donna Elvira- Don Giovanni/ Stadttheater Klagenfurt, Oktober 2006
"...is Arpiné Rahdjian a powerful, ideal Donna Elvira." (Die Furche)
"The most convincing overall performance of all premieres together (Graz and Klagenfurt) came from Arpiné Rahdjian as a vocally not yet fully matured but tremendously expressive and sensationally intense Donna Elvira." (Die Presse)
"Arpiné Rahdjian as Donna Elvira full of power…" (Kleine Zeitung)
"...two sopranos almost with Tosca-format (Muirhead and Rahdjian): Amazing which interesting voices the Klagenfurt management has been able to discover." (Österreich)
"Absolutely convincing were the female vocal performances of Jessica Muirhead as passionate Donna Anna and Arpiné Rahdjian as powerful Donna Elvira." (ORF.at)
"Arpiné Rahdjian a wonderful Donna Elvira with a powerful voice….jubilations!"
"Arpiné Rahdjian believes dearly and angrily in the salvation of her husband, who existentially does not want to be saved… A whopping night."
"...and Arpiné Rahdjian an outstanding cast as a resolutely suffering Donna Elvira."
"Arpiné Rahdjian plays her part full of voice and with wonderful phrases…" (Kärntnerwoche)
Tamiri-Il re pastore/ Salzburg Festival, September 2006
"Among the singers three women set the tone: first of all Arpiné Rahdjian, a Tamiri with a strong timbre; one even seems to discover "Donna Elvira" and "Fiordiligli" in her hearty-brilliant recital." (Resmusica)
"Arpiné Rahdjian (Tamiri) was optically and acoustically responsible for the sensual moments. In the recitatives she led her dark soprano forcefully and in the arias with high intensity."
"Annette Dasch (as Aminta), Marlis Petersen (as Elisa) and Arpiné Rahdjian (as Tamiri) demonstrate the level that is required in Salzburg. Everything is in tune - the vehemence in the coloraturas, the variety of expressions." (Der Standard)
"…and the Austrian Arpiné Rahdjian (Tamiri) with a very beautiful vocal character." (Edicom)
"…a dramatic note is introduced by Arpiné Rahdjian as Tamiri."
"Arpiné Rahdjian introduces as Tamiri more dramatic accents."
"Arpiné Rahdjian juxtaposes there for the role of Tamiri in the "second" couple a dark timbred, full, in the acoustical situation almost too opulent soprano." (Salzburger Nachrichten)
"…Arpiné Rahdjian introduces as Tamiri a dramatic note."
"And Arpiné Rahdjian stays with her enormous vocal volume to keep her tail up ahead of the two gentlemen." (Süddeutsche Zeitung)
"Powerful: Arpiné Rahdjian (Tamiri)." (News)
"Arpiné Rahdjian, the Tamiri, possesses an enormous vocal organ." (Donaukurier)
"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)
"Arpiné Rahdjian responds as a primadonna-like king’s daughter, powerful and elegant in good and bad times."
Donna Elvira-Don Giovanni/Feldkirch Festival, May 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 )
"Katharina Persicke as scatterbrained farmer girl, Svetlana Doneva as distinguished Donna Anna and Arpiné Rahdjian as passionate Donna Elvira."
"Arpiné Rahdjian sings a phenomenal Elvira full of fiery drama and intimacy." (Badische Zeitung)
"…Donna Elvira (Arpiné Rahdjian): simply irresistible." (Vorarlberger Nachrichten)
" 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)
Micaela-Carmen/Hamburg, February 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/State Opera Berlin, November 2005
"... 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/Styriarte, June 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."
"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."
"Also Micaela is more used as a quotation, Arpiné Rahdjian sings the role emphatically and a little bit too dramatically. "
"Rahdjian with her expressive and magnificent Micaela is the revelation of the evening." (Il Giornale della Musica)
"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)
"Arpiné Rahdjian thrills with the bloomy lyricisms of her youthful soprano." (Kleine Zeitung)
"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)
"Arpiné Rahdjian (Micaela) is the discovery of the evening, ...rejoicings." (Kurier)
"Arpiné Rahdjian sings a graceful Micaela, perfectly fitting Harnoncourt's concept." (Kronenzeitung)
"Arpiné Rahdjian as Micaela is the surprise of the evening." (News)
"Arpiné Rahdjian's Micaela, with sensual legato and intensively blazing, reminds of Susan Graham's mezzo." (Libération)
"Luminous and floating on the contrary Arpiné Rahdjian's interesting nascent soprano as Micaela."
"Arpiné Rahdjian as Micaela lets lyrical emphasis unfold in this great grand opera." (FAZ)
"...gentle Micaela with luminescent, lyrical emphasis: Arpiné Rahdjian..." (Tagesspiegel)
"An unobjectionable cast of vocalists: ...Arpiné Rahdjian as tender Micaela." (Die Furche)
"Excellent moreover the Micaela of the young Arpiné Rahdjian..." (Die Welt)
"However with Kurt Streit, Nora Gubisch, a girlish, genial voiced Arpiné Rahdjian as Micaela and dancing figures, which she created, she can work."
"Wonderful too Arpiné Rahdjian as Micaela whose clarity in the higher register left nothing to be desired." (Austria Presse Agentur)
Agathe-Der Freischütz, April 2005
"Arpiné Rahdjian's moving voice lends expression to Agathe's anxiety." (Nordbayrischer Kurier)
"Arpiné Rahdjian's appropriately estranged but at the same time wonderfully soulful and with feeling satiated singing made this première sensational." (Frankenpost)
Fiordiligi - Cosi fan tutte/Stadttheater Klagenfurt, January 2005
"...experiencing a tidy, excellent phrasing Arpiné Rahdjian."
(Orpheus International Opera Magazine)
"... 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)
Countess Zedlau - Wiener Blut, April 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."
"... 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)
Annina - Eine Nacht in Venedig/Festspielhaus Bregenz, 2003
"... 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)
Liù - Turandot/Stadttheater Klagenfurt, 2003
"In the role of the slave Liú, Arpiné Rahdjian enchanted with her supplely differentiated timbre." (Der Standard)
"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)
"... the young Austrian, Arpiné Rahdjian, received the lion's share of the applause, with good reason, for her faultlessly characterized and moving Liú."
"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)
International Belvedere Competition, 2002
"... sensitively performed, she sang her way to first place."
"... a truly great talent."
"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)
"The winner of the Operetta Singing Contest, the Austro-Armenian Arpiné Rahdjian, towered far above her competitors." (Der Neue Merkur)
Prize winner concert, 2002
"Her fine soprano coupled with an ease of execution bode well for future expectations." (Badener Zeitung)
Donna Elvira - Don Giovanni/Mozart-Festival Reinsberg, 2002
"Arpiné Rahdjian as Elvira, the avenging angel, delightfully contrasts with her darkly exciting voice to……"
(Der Neue Merker