Armenian soprano Mané Galoyan, whom Houston Press exclaimed, “…pride of place in Houston Grand Opera’s Rigoletto must go to soprano Mané Galoyan…Radiant as dewy Gilda in her first throes of love, heavenly as a daughter disgraced, and positively stoic as martyr, she possesses a crystalline voice that cuts through any orchestral texture. She waltzed through Verdi’s dramatic coloratura without effort. She can float incandescent pianissimos then belt with Verdian thunder. You always knew where she was on stage, just follow that distinct, clear voice.” After an auspicious debut with the Metropolitan Opera last season, Mané Galoyan will return there in 2020/2021 to sing Gretel in Hansel and Gretel and will also debut at Zürich Opernhaus as Adina in L’elisir d’amore. Also this season, Ms. Galoyan will start as an ensemble member of the Deutsche Oper Berlin, Ms. Galoyan will perform as Violetta Valéry in 7 Deaths of Maria Callas, Micaëla in Carmen, Pamina in Die Zauberflöte, Garsenda in Francesca da Rimini, Violetta Valéry in La traviata, and the premiere of a staged version of the St. Matthew Passion, among other projects.
In the 2019-2020 season, Ms. Galoyan made her Metropolitan Opera debut as Prilepa/Chlöe in Pique Dame, conducted by Vasily Petrenko. She also returned to Houston Grand Opera to sing Gilda in Rigoletto, debuted with Hawaii Opera Theatre as the Countess in Le Nozze di Figaro, and finally, performed the role of Giannetta and covered Adina in L’elisir d’Amore with the Glyndebourne Festival. Highlights elsewhere included a solo recital with Cypress Creek FACE and with Musical Bridges.
For the 2018-2019 season, Ms. Galoyan performed Violetta with the Glyndebourne Festival on tour and Gilda in Rigoletto with Kentucky Opera and Wolf Trap Opera. Symphonic engagements included Rachmaninoff’s The Bells with James Gaffigan and The Dallas Symphony, as well as with Andrés Orozco-Estrada and the Houston Symphony. Ms. Galoyan also performed select Russian song repertoire with the Chamber Music Society of Lincoln Center at Alice Tully Hall and Mahler’s Symphony No. 2 with the Aspen Music Festival. As part of her final season with the Houston Grand Opera Studio in 2017-2018, she performed Violetta and the Confidante in Elektra.
In the 2016-17 season, Ms. Galoyan performed Adina at the Houston Grand Opera. She also performed Mahler’s Symphony No. 4 in G with the San Antonio Symphony and gave recitals at Balliol College at Oxford University, the Opera America Emerging Artists Recital series in New York and the Museum of Fine Arts, Houston.
Mané Galoyan made her Houston Grand Opera debut as the Kitchen Girl in Rusalka in the 2015-2016 season, where she also performed the roles of Margaret Hughes in the world premiere of Carlisle Floyd’s Prince of Players, the Forest Bird in Siegfried, and Lucy Goodman in the world premiere of David Hanlon and Stephanie Fleischmann’s After the Storm, produced by HGOco. That same season, Ms. Galoyan made her Wolf Trap Opera debut as Smorfiosa in Florian Leopold Gassmann’s L’opera seria.
Ms. Galoyan’s extensive concert performances include Pergolesi’s Stabat Mater, Schubert’s Mass in G and Mass in C, Vivaldi’s Gloria, and Haydn’s Lord Nelson Mass, all with the Armenian National Chamber Orchestra, as well as the Fauré Requiem with the Armenian National Philharmonic Orchestra.
Mané Galoyan is a winner of numerous international competitions, including First Prize in the 27th Eleanor McCollum Competition and Concert of Arias with Houston Grand Opera, Third Prize in the XV International Tchaikovsky Competition, Fourth Prize in the 6th International Vocal Competition China in Ningbo, Third Prize in the 2017 Dallas Opera Guild Vocal Competition, a 2014 prize in the Hans Gabor Belvedere Competition, and first prize in the Bibigul Tulegenova International Singing Competition in Kazakhstan.
Ms. Galoyan is a graduate of the Houston Grand Opera Studio, and holds two degrees from the Yerevan State Komitas Conservatory in Armenia, where she was named the 2013 winner of the President of the Republic of Armenia Youth Prize. She was also a participant in the HGO Young Artist Vocal Academy in 2013.
“Galoyan, in her Glyndebourne debut, looked convincingly frail, and even though her singing delivered impressively secure coloratura and much graceful lyricism, she still gave the illusion that the effort was killing Violetta, the effect heightened by each act opening with her lying exhausted on a couch to one side of the stage. Galoyan was at her considerable best in her Act 2 duo with Giorgio Germont, a marvelously crafted retreat into despair that showed off the unsparing perceptiveness of her singing. Similarly, there were no emotional holds barred in Violetta’s hallucinatory death scene, sung with astounding control and as devastating as I’ve ever seen and heard it.”
“Mane Galoyan pierced the sky as the unforgettable forest bird who guides Siegfried.”
“And making her Glyndebourne debut as Violetta, Mané Galoyan is a real find, small in stature but with a compelling presence and able to express feelings as naturally as breathing. Whether juggling with determination, fragility and passion, she fulfils this complex role with complete assurance. It’s a voice of dazzling security and range, topped by a wonderfully projected mezzo voce that makes you hang onto every note. There’s a consistent clarity and evenness of tone, bringing a gratifying ease to her coloratura and finely-spun legato. The final moments when Violetta walks away from us and dies alone is achingly moving.”
“Floyd’s score is peppered with high notes and, as Peg, Mane Galoyan tapered her ripe soprano for two limpid pianissimo examples… “
“Galoyan’s Margaret was vocally effective, her lyric voice used with great sensitivity to convey a woman who can see the goodness that exists in a man whom others ridicule and demean. Galoyan’s character is the emotional driving force in the opera, and Floyd’s music, exquisitely performed by Galoyan, delineates a character as strong as she is sensitive.”
“In the transcendental adagio, the peaceful separation of the soul from the body could be sensed, with heaven entering at the start of the fourth movement exactly when soprano Mane Galoyan stepped onstage… Galoyan’s last-movement solo, titled “Life in Heaven,” sounded exactly like that, her voice pure and ardent as it intertwined with the celestial themes flowing from the orchestra.”
David Hendricks, San Antonio Express News