LiannaHaroutounian
Representation
About Lianna
During this 2023/24 season, Lianna will make her debut at Teatro Carlo Felice Genoa as Cio-Cio-San (Madama Butterfly) and make returns to Teatro San Carlo Napoli in her role debut in the title role in La Gioconda and Teatro Real Madrid as Cio-Cio San. Future seasons see returns to San Francisco Opera, La Monnaie, Brussels, Teatro de la Maestranza Seville, and debuts at Opera Royal de Wallonie-Liège and Theatre du Capitole de Toulouse.
Last season, performances included a return to the Royal Opera House, Covent Garden for Madama Butterfly, debuts at Teatro Verdi Trieste (Otello) and Teatro Municipale Giuseppe Verdi Salerno (Turandot) and Teatro Regio Torino (Madama Butterfly) as well as a debut as Adriana Lecouvreur at Teatro Cervantes Malaga.
Other recent highlights include her sensational title role debut in Manon Lescaut at San Francisco Opera, her house debut at the Lyric Opera of Chicago as Cio-Cio-San (Madama Butterfly); Mimì (La bohème) at Gran Canaria, Amelia (Un ballo in maschera) at Seville, Amsterdam, Liza (Pique Dame) at Gran Teatre del Liceu, Cio-Cio-San in Madama Butterfly at the Royal Opera House, Covent Garden and the title role in Tosca in a new production at the Bolshoi Theatre.
Representation
Season Highlights
Video
Lianna Haroutounian sing Fedora in Amsterdam
Lianna Haroutounian singing the title role in Fedora with the Netherlands Philharmonic Orchestra, conducted by Giampaolo Bisanti at the Concertgebouworkestin September 2021. Credit: NPO Klassiek
PlayingLianna Haroutounian sings Manon Lescaut in San Francisco
Lianna Haroutounian sings with Brian Jagde ‘Tu, tu, amore, tu?’ [excerpt] from Manon Lescaut at San Francisco Opera conducted by Nicola Luisotti Credit: San Francisco Opera
PlayingLianna Haroutounian sings Cio-Cio San in Seattle
Lianna Haroutounian sings Cio-Cio San's entrance in Madama Butterfly at Seattle Opera, conducted by Carlo Montanaro. Credit: Seattle Opera
Playing
Selected Repertoire
| Boito | Mefistofele (Margherita - role under preparation) |
|---|---|
| Catalani | La Wally (Wally - role under preparation) |
| Cherubini | Medea (title role - role under preparation) |
| Cilea | Adriana Lecouvreur (Title Role) |
| Dvořák | Rusalka (Title Role - role under preparation) |
| Giordano | Andrea Chenier (Maddalena - role under preparation) • Fedora (Title Role) |
| Janáček | Jenufa (Title Role - role under preparation) • Katya Kabanova (Katya - role under preparation) |
| Leoncavallo | Pagliacci (Nedda) |
| Puccini | La bohème (Mimi) • La Faniculla del West (Minnie - role under preparation) • Madama Butterfly (Cio-Cio San) • Manon Lescaut (Manon) • Suor Angelica (Title Role) • Il Tabarro (Giorgetta) • Tosca (Title Role) • Turandot (Liu) |
| R. Strauss | Arabella (Title Role - role under preparation) • Ariadne auf Naxos (Ariadne) • Rosenkavalier (Marschallin - role under preparation) |
| Tchaikovsky | Eugene Onegin (Tatyana) • Iolanta (Title Role) • Pique Dame (Lisa) |
| Verdi | Un ballo in Maschera (Amelia) • Don Carlo (Elisabetta, Hélène) • Falstaff (Alice Ford) • La Forza del Destino (Leonora - role under preparation) • Luisa Miller (Luisa) • Macbeth (Lady Macbeth - role under preparation) • Otello (Desdemona) • Simon Boccanegra (Amelia) |
| Wagner | Lohengrin (Elsa - role under preparation) • Tristan und Isolde (Isolde) |
| Zandonai | Francesca da Rimini (Title Role - role under preparation) |
News
Press
Madama Butterfly
Royal Opera House, Covent GardenJun 2022 - Sep 2023Lianna Haroutounian is outstanding as Cio-Cio-San as her soprano proves capable of asserting lines with crystal clarity on the one hand, and of producing an extremely full and vibrant sound on the other. Both skills are put to excellent use in the iconic ‘Un bel dì’, in which she reveals how she has spent so many hours building up an image in her head of what that beautiful day when he returns will be like. However, when she describes how she will initially hide from him so as not to die at the first meeting we feel the full weight of her desperation. Throughout the evening Haroutounian delivers an extremely emotional and heartfelt performance, in which her sorrow and vulnerability could not be more palpable, while still imbuing the character with immense dignity.
- Opera Online
- 21 September 2021
Lianna Haroutounian, in the title role, devastated in her ever more abandoned but skilled performance, broken yet fearless.
- The Guardian
- 19 June 2022
Her interpretation was less about the big numbers Puccini gifts the opera’s main protagonist, more about the heart-breaking story, present in every action, gesture and sound (an emotional power actively underlined at one point by stunning violin solos from the Royal Opera orchestra’s leader, Sergey Livitin). Both dramatically and musically, Haroutounian was one of the finest Cio-Cio-Sans I have heard.
- Seen and Heard
- 21 September 2022
