Absolute triumph for Lianna Haroutounian as Isolde in Liège
February 5th, 2025
Following the premiere of Tristan und Isolde by Richard Wagner on January 28 at the Opéra Royal de Wallonie-Liège, the press has widely praised Lianna Haroutounian’s outstanding performance.
Specifically, Olyrix comments: "In this warm and intimate theater of the Opéra de Liège, she fully achieves her goal, especially in the first act, where her broad and powerful voice, with firm high notes, finds its full place. More intensely dramatic, she carefully shapes her vocal line in the next act, displaying sensitivity to nuances and refinements."
Meanwhile, Forum Opera highlights the Armenian soprano’s triumphant entry into the Wagnerian repertoire: "But the revelation of the evening has a name: Lianna Haroutounian. The singer, who has made a name for herself in Verdi and Puccini, raised some eyebrows when she announced she would take on Wagner. And even more so when she revealed that she would begin with Isolde! Tremendous audacity… that ultimately paid off. Her understanding of the role is absolute [...] The haughty princess at the beginning is just as convincing as the passionate lover in the duet and the desperate woman mourning her beloved. Her voice is of an almost unreal beauty,with an astonishing volume. The ground literally shakes when the diva unleashes her high notes. The tears and embrace with the conductor during the final bows leave no doubt: Lianna Haroutounian is embarking on a new phase of her career, and another star shines in the Wagnerian vocal firmament."
Following the same tone, Operaclick emphasizes: "Among the performers, Lianna Haroutounian, despite making her debut in both the role and a Wagner opera, stands out as an Isolde of great artistic stature. She is convincing both in the moments that require expressions of anger and pride, as well as in those where her love for Tristan must be ardent. The Armenian soprano demonstrated that she possesses a solid technique, allowing her to shape her voice for expressive purposes, overcoming all the challenges of the role without any apparent difficulty. Her spinto soprano voice, with moderately deep lows, excellent middle register, and brilliant, full high notes, proved to be perfect for portraying a superbly sung Isolde."
The magazine Classique c’est cool! praises the soprano’s breathtaking voice: "Accustomed to the Italian repertoire, soprano Lianna Haroutounian performed her first Isolde. The risk was worth it, thanks to the power of her voice (sometimes even overwhelming) and a well-applied technique suited to Wagnerian singing."
Continuing in the same vein, Première Loge highlights both the power and flexibility of the soprano’s voice: "Her voice is broad and generous, covering the full range of an exhausting role with ease [...], with an astonishingly effortless projection: at times, in her vocal colors and the way she delivers certain forte high notes, it was reminiscent of a young Gwyneth Jones… [...] Her experience in the Italian repertoire brings a brightness to her voice and a flexibility in the vocal line that few other performers of the role can claim. A successful new artistic direction in the already rich career of a captivating singer!"
All media outlets agree on the freshness and clarity that Haroutounian’s command of the Italian repertoire brings to her performance. This is particularly highlighted by the newspaper La Libre: "In her debut in the role – and even in the Wagnerian repertoire – Lianna Haroutounian’s Isolde is unlike any other. The Armenian soprano’s voice benefits from a clarity and even a brightness directly inherited from her deep immersion in the Italian repertoire, but also possesses an astonishing power in the high register. From the second act onward, she delivers an impressive projection without reserve, reaching its peak in the final scene."
Even the Italian press has echoed the Armenian soprano’s highly anticipated Wagnerian debut. Giornale della Musica states: "A key factor in Bisanti’s successful endeavor was, above all, the Armenian soprano Lianna Haroutounian, making her debut not only in the role but also in the Wagnerian repertoire. Her voice, though not enormous, is powerful, with a secure, never forced, and always well-projected emission. She has demonstrated great temperament and an already mature interpretative ability in the role."