And Paris discovered the flamboyant soprano Asmik Grigorian

In August 2018, Asmik Grigorian put the Salzburg Festival at his feet in the title role of Salome, by Richard Strauss. The Armenian-Lithuanian soprano embodied with insane intensity and incredible naturalness the luminous and very wicked child of Herodias, sacrificing without the least qualms on the altar of her desire as a virgin the envoy of God, the preacher John -Baptist. Romeo Castellucci held the relentless heroine of “The most shocking opera of all time”, as evidenced by a DVD released by C Major.

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Read also: In Salzburg, “Salomé” in the black sun of Castellucci

Asmik Grigorian should have made his Paris Opera debut in May, in The Queen of Spades, by Tchaikovsky, directed by Lev Dodin, but the production was canceled (the soprano will nevertheless be in recital in Bastille on June 6, 9 and 12). It is therefore the Salle Gaveau which hosted, Tuesday 1is June, the first Parisian recital of the tenor Gegam Grigorian’s daughter, as part of the 59e concert produced by L’Instant lyrique. At 40, since May 12, the young woman shines in an elegant sheath dress enhanced with white lace highlighted by black lines à la Buren. She is undoubtedly the category that captures the attention from the moment you step on stage.

The pianist Antoine Palloc serves as his confidant in the “Scène de la lettre” which sees the young Tatiana, disregarding conventions, opening her heart and soul to the attractive Onegin. There is something wild in Asmik Grigorian’s voice, surges, restraints, sobs, spasms. The tone is rich and quite dark, an incandescent paste enhanced with a hint of acid, the projection powerful. Bass and midrange show great homogeneity, the treble blossoming in a less tight vibrato, which opens up prospects of fragility. Magnificent qualities illustrated by the splendid arioso “Otchego eto prezhde ne znala” (“why did I not know this before”), taken from Iolanta.

An almost masculine ardor

Always Tchaikovsky, in three melodies taken from Romances op. 6. First the famous “Nel, tolko tot, kto znal” (“no one but the lonely heart”) – a hit recorded four times by Frank Sinatra, the last of which under the title When No One Cares – then the solitary lament “Snova, kak prezhde” (“still, as before, alone”), of which Asmik Grigorian pushes the immense crescendo to the cry, before the amorous lament of “Sred shumnovo bala” (“in the middle of the din of the ball ”), reverie rocked in a whisper sung arms crossed, back against the piano.

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