GevorgHakobyan

/
Baritone
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Contact

For availability and general enquiries:

Mark Hildrew

Mark Hildrew

Executive Director

For availability and general enquiries:

For contracts, logistics and press:

Seb Mallet

Seb Mallet

Associate Artist Manager

Representation

Italian Management: Stage Door

About Gevorg

The next few seasons see Gevorg making his house debuts at Arena di Verona, L’Opéra national de Paris, Kansas City Opera, The Metropolitan Opera New York, Deutsche Oper Berlin and Opera Australia. He will return to the Teatro Real Madrid and de Nationale Opera Amsterdam.

Gevorg has appeared at Wiener Staatsoper, Teatro Real Madrid, Liceu Barcelona, de Nationale Opera Amsterdam, Palau de les Arts Valencia, Teatro Carlo Felice Genoa, Bolshoi Theatre Moscow, Mariinsky Theatre, Mikhailovsky Theatre, Nationale Opera Amsterdam, Stuttgart Opera, Terme di Caracalla Roma, Teatro Communale di Bologna, Palau des les Arts Reina Sofia, Teatro Massimo di Palermo, Armenian National Academic Theatre of Opera and Ballet, Hong Kong Cultural Centre, Opera de Lille, Opera di Genova and Teatro Regio di Torino as well as the White Nights Festival St. Petersburg and Savonlinna Festival.

Gevorg is based in Yerevan, Armenia

Download programme biography   

Representation

Italian Management: Stage Door

Season Highlights

Sep 2023
Lyric Opera of Kansas City
Cavalleria Rusticana (Alfio) / Pagliacci (Tonio) Roberto Kalb (conductor) Shawna Lacey (director) US Debut / New Production
Jan 2024
Deutsche Oper Berlin
Tosca (Scarpia) Paolo Arrivabeni (conductor) Boleslaw Barlog (director)
Jun 2024 - Jul 2024
Opera Australia
Tosca (Scarpia) Garry Walker (conductor) Edward Dick (director) House Debut

Selected Repertoire

BizetCarmen (Escamillo)
BorodinPrince Igor (title role)
GiordanoAndrea Chénier (Carlo Gérard)
LeoncavalloPagliacci (Tonio)
MascagniCavalleria Rusticana (Alfio)
PorrinoI Shardana (Norace)
PucciniLa Faniculla del West (Jack Rance)   •   Gianna Schicchi (title role)   •   Madama Butterfly (Sharpless)   •   Il Tabarro (Michele)   •   Tosca (Scarpia)
R. StraussSalome (Jochanaan)
RachmaninoffAleko (title role)   •   Francesca da Rimini (Lanciotto Malatesta)
Rimsky-KorsakovThe Legend of the Invisible City of Kitezh and the Maiden Fevroniya (Fyodor Poyarok)   •   The Tsar’s Bride (Grigory Gryaznoy)
TchaikovskyCherevichki (Bes)   •   Eugene Onegin (title role)   •   Iolanta (Ibn-Hakia, Robert)   •   Mazeppa (title role)   •   The Queen of Spades (Count Tomsky)
VerdiAida (Amonasro)   •   Un ballo in maschera (Renato*)   •   I due Foscari (Francesco Foscari)   •   Macbeth (title role)   •   Nabucco (title role)   •   Otello (Iago)   •   Rigoletto (title role*)   •   Simon Boccanegra (title role, Paolo Albiani)   •   La Traviata (Giorgio Germont)

Press

  • Arias of Love and Sorrow

    Delos
    Jan 2023
    • In one of the finest calling-card débuts we have heard in quite some time – the DELOS recording ARIAS OF LOVE & SORROW – Armenian Baritone Gevorg Hakobyan brings keen interpretive intelligence and a gift for coloring his glorious sound to suit everything from the snarling utterances of Iago’s Credo to the noble cantilena of Nabucco’s prayer Dio di Giuda, the latter sung with seamless legato.

    • An exciting program that is well suited to Hakobyan’s dramatic voice. There is not an aria on this CD where I would say that Hakobyan’s voice does not fit one hundred percent, even though he is particularly impressive as a Verdi baritone.… admirably balanced and nuanced in its richness of expression.… it is a fascinating CD of a fascinating singer.

    • Armenian baritone Gevorg Hakobyan, now forty-one, proves in this calling-card recording to be a very serviceable exponent of the dramatic baritone Fach — one that is particularly underserved today, even in international theaters. He has sung in many important Eastern European and Italian houses plus Vienna, Madrid and Barcelona, and on the evidence here he’s preferable to some of his seasoned European rivals that we in North America are routinely offered (year after year after year). Both his Italian and Russian selections show familiarity with the idioms and an ability to shade phrases with emotion, as well as some welcome dynamic shading. Aleko’s classic audition aria “Ves’ tabar spit”; Tomsky’s point number “Tri karty”; and Nabucco’s recitative and prayer “Dio di Giuda” show reveal him to be a capable interpreter. And, unlike many youngish singers, he seems to have investigated the recorded performance tradition. In Michele’s intense aria of vengeance from Il Tabarro, he delivers the final “Sei tu” lifted in pitch and delivered parlando — not as Puccini wrote it but a plausible verismo variant as recorded by Tito Gobbi. Surely the least accessible and thus most valuable readings here are the selections from Armenian operas. Hakobyan sings the Sovietized version of an aria from the first Armenian opera, Arshak II (1868), written in Italian by Tigran Chukhajian (1837–98) about the fourth-century ruler. In 1945, an adaptation by Armenian-language musicologist Levon Khodja-Ernatyan (1904–54), given a politically expedient libretto to suit Stalinist dogma, made its debut. From Armen Tigranian (1879–1950) we hear the titular heroine’s brother’s enraged aria from Anoush (1912) and the hero’s patriotic declaration from David Bek (1950), given a posthumous premiere.

    • Gevorg Hakobyan brings keen interpretive intelligence and a gift for coloring his sound to suit the snarling utterances of Iago’s Credo, the self-questioning of Gerard in Nemico della patria, the seething anger of Michele’s Nulla! Silenzio!, the heartbreak of Eri tu, and the noble cantilena of Nabucco’s prayer, the latter sung with seamless legato. Hakobyan’s is a true dramatic voice: sizeable, rock solid in the middle and low registers, perfectly even in sound in the tricky passaggio that often creates trouble for some baritones, and fearless both with the top F sharps and G’s that abound in the Verdi and Puccini arias included in the album. He also boasts a fine low A in Eri tu and an equally assured low G in Michele’s aria from Il Tabarro. In the imperfect world of Opera Gevorg Hakobyan, a major artist perfectly equipped both vocally and musically – deserves to be stepping right now into the leading baritone repertoire in the major opera houses.