Extra

Armenian soprano Lianna Haroutounian, who made such a hit at San Francisco opera in singing the title roles in Tosca (2014) and Madama Butterfly (2016), gave her first USA recital at Herbst Theatre on Sunday, November 25. I reviewed this wonderful recital in the November 26 issue of Berkeley Daily Plane, where I lauded Ms. Haroutounian for her voluptuous low notes and scintillating high notes, delivered very naturally without a register break between chest tones and head tones. Following this recital I had a chance to strike up a dialogue with Lianna Haroutounian about possible new directions in her career. 

James MacBean:  

I was impressed in your recital at Herbst Theatre on November 25 by your performance of the songs of Vincenzo Bellini. You sang three Bellini songs --“Vaga luna,” “Malincolia, ninfa gentile,” and “Dopo l’oscura nembo.” They were very beautiful, either sweet and soft, as in “Vaga luna,” or melancholic and dramatic. You seem to have the vocal technique to handle Bellini’s extremely long melodic lines. Do you envision singing in the near future some of Bellini’s operatic roles for soprano? 

Lianna Haroutounian: 

The Bellini songs I performed at this recital were all new pieces for me, as were 90% of the pieces I sang here. I had never sung them before publically. But I love them dearly, and I plan to sing more Bellini songs in future recitals. Bellini’s opera roles are definitely challenging, as they require great breath control in long melodic lines. I have no invitations yet to sing a Bellini role; but I’m already preparing the role of Norma, and with great pleasure. If I have the opportunity, I will be very happy to sing Norma. I know it’s challenging, especially in length. Preparing for these Bellini roles requires great breath control over his long melodic lines, yet one must sing evenly over the entire length of the melodic line and endow them with all the melancholy they convey. It would be a dream for me to sing the role of Norma. 

James MacBean: 

What other roles are you hoping to sing? 

Lianna Haroutounian: 

I’m currently preparing the title-role in Aida for Teatro Real in Madrid. This will be a debut-role for me. In future I’d love to sing the title-role in Verdi’s Luisa Miller. Later in my career I’d love to sing the role of Lady MacBeth. It’s a very complex and interesting role, also very challenging. As for the near future, I’ll sing Nedda in Pagliacci in San Francisco, and I’ll sing Maddalena in André Chénier as well as Manon in Puccini’s Manon Lescaut.  

James MacBean: 

What about Tchaikovsky’s Eugene Onegin? 

Lianna Haroutounian: 

Eugene Onegin is my favorite Tchaikovsky opera, and I’d love to sing Tatyana in this opera.