Mané Galoyan



Armenian soprano Mané Galoyan, the 2021 Operalia Second Prize, Zarzuela Prize and the Rolex Audience Prize winner, whom the Houston Press exclaimed was “..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.”

In the current season Ms. Galoyan will sing Suor Angelica and Lauretta in a new production of Il Trittico with Donald Runnicles at the Deutsche Oper Berlin, Pamina in Die Zauberflöte with the Wiener Staatsoper, Donna Anna in Don Giovanni with the Canadian Opera Company, Violetta in La traviata with Santa Fe Opera and Deutsche Oper Berlin, Suor Angelica with the Bayerische Staatsoper and the title role in The Cunning Little Vixen with Detroit Opera. In concert, she will sing Rachmaninoff’s The Bells with Swedish Radio Orchestra, and a holiday concert with the Basel Symphony Orchestra.

In the 2022-2023 season, Ms. Galoyan performed the title role in Luisa Miller with Oper Köln, Berthe in Le prophète with Aix-en-Provence Festival, to be released as a recording with the London Symphony Orchestra, Avis in The Wreckers with Houston Grand Opera, Donna Anna with the Atlanta Opera, and Violetta with Deutsche Oper Berlin and Seattle Opera. She also performed The Bells with Gustavo Dudamel and the Los Angeles Philharmonic and Bard Festival, Mahler’s Symphony No. 2 with the Seattle Symphony, a concert of arias with the Prague Symphony Orchestra and Plácido Domingo in Bad Hofgastein, Austria, and Taneyev’s cantata with the American Symphony Orchestra, to be later released as a recording.

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“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.”

Peter Reed

Opera Magazine

“Mane Galoyan pierced the sky as the unforgettable forest bird who guides Siegfried.”

Joseph Campana

Houston Chronicle

“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.”

David Truslove

Classical Source

“Floyd’s score is peppered with high notes and, as Peg, Mane Galoyan tapered her ripe soprano for two limpid pianissimo examples… “

William Albright

Classical Voice America

More Reviews

“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.”

Opera Warhorses

“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

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