LilitDavtyan

Press

• La Flûte Enchantée

  Sanxay Festival 2026

  Aug 2026

  • Pamina est la belle découverte de la soirée. Lilit Davtyan se distingue par un legato particulièrement soigné et une capacité à faire naître une émotion très directe. Lorsqu’elle croit avoir perdu l’être aimé (« Ach, ich fühl’s »), elle fait entendre la solitude puis le désespoir sans jamais verser dans le pathos. La voix circule avec aisance des graves aux aigus, avec une projection sonore et lumineuse qui ne devient jamais agressive. Elle sait également alléger son émission et réserve de très beaux pianos, parfois longuement tenus. À l’aise sur scène, mobile, parfois même un peu espiègle, elle donne à Pamina une vraie présence. Une interprète que l’on aura plaisir à retrouver. [Translated]: Pamina is the evening’s delightful discovery. Lilit Davtyan distinguishes herself through particularly refined legato and an ability to create an immediate emotional connection. When Pamina believes she has lost the man she loves (“Ach, ich fühl’s”), Davtyan conveys first her loneliness and then her despair, without ever lapsing into pathos. The voice moves effortlessly from the lower to the upper register, with a resonant, luminous projection that never becomes harsh. She also knows how to lighten the voice beautifully, producing some exquisite pianissimos, at times sustained at length. At ease on stage, animated and occasionally even a little mischievous, she gives Pamina a genuine presence. A performer we will be very pleased to encounter again.

    • Premiere Loge
    • 12 August 2026

  • Pamina est interprétée par Lilit Davtyan. Ses broderies en cadences révèlent la virtuosité de son chant, et une théâtralité distinguée. Dans les arias comme « Bei Männern, welche Liebe Fühlen », l’articulation est d’une limpidité, d’une joie et d’un bonheur déconcertants. Son jeu est saisissant y compris dans les moments de malheur, notamment dans « Ach, ich fühl’s ». [Translated]: Pamina is sung by Lilit Davtyan. Her ornamentation and cadenzas reveal both the virtuosity of her singing and an elegant theatricality. In arias such as “Bei Männern, welche Liebe fühlen”, her articulation has a remarkable clarity, joy and sheer happiness. Her acting is equally striking in moments of sorrow, notably in “Ach, ich fühl’s”.

    • Olyrix
    • 11 August 2026

  • Pamina est, elle, incarnée par la très séduisante soprano arménienne Lilit Davtayan. La jeune femme se confronte avec une aisance confondante à un rôle difficile ; si Pamina n’a, elle aussi, qu’un seul aria – « Ach ich fühl’s es ist verschwunden » – Davtayan y met une bonne dose de sensibilité et une rigueur inégalable. [Translated]: Pamina, meanwhile, is portrayed by the highly appealing Armenian soprano Lilit Davtyan. The young singer tackles this difficult role with astonishing ease; although Pamina herself has only one aria, “Ach, ich fühl’s, es ist verschwunden”, Davtyan brings to it a generous measure of sensitivity and incomparable precision.

    • CultNews
    • 11 August 2026

  • La soprano arménienne Lilit Davtyan a séduit le public dans Pamina où elle excelle à conduire une voix pure et lumineuse, produisant de superbes demi-teintes et sons filés, des notes sur le souffle, qu’elle donne une réplique rayonnante à Papageno dans « Bei Männern » ou qu’elle traduise les affres de la douleur dans son air du II « Ach, ich fühl’s » ; elle rejoint à l’acte II Tamino dans les épreuves avec une dimension vocale et scénique très assurée. [Translated]: The Armenian soprano Lilit Davtyan captivated the audience as Pamina, displaying superb control of a pure and luminous voice and producing beautiful half-tones, sustained floated notes and singing carried exquisitely on the breath. Whether responding radiantly to Papageno in “Bei Männern” or expressing the torments of grief in her Act II aria “Ach, ich fühl’s”, she excels. She joins Tamino for the trials in Act II with great vocal and dramatic assurance.

    • Resonances Lyriques
    • 08 August 2026

  • Lilit Davtyan, à la voix lumineuse dans la tristesse comme dans la joie. [Translated]: Lilit Davtyan, with a voice that shines equally in sorrow and in joy.

    • La Nouvelle République
    • 08 August 2026

• Lucio Silla

  Salzburg Festival 2026

  Aug 2026

  • Die armenische Sopranistin Lilit Davtyan betörte mit ihren unverdrossen hoffnungsvoll strahlenden Koloraturen. [Translated]: The Armenian soprano Lilit Davtyan enchanted with her unfailingly hopeful, radiant coloratura.

    • Der Standard
    • 03 August 2026

  • Lilit Davtyan's Celia — the role that first-time librettist Gamerra almost throws away — became, in her hands, the ethical centre: her pleas for mercy sung with a translucent, almost sacred tone that seemed to point ahead to La clemenza di Tito twenty years early.

    • European News Agency
    • 03 August 2026

  • Lilit Davtyan, soprano arménienne se distingue dans le rôle de Celia. « Se lusinghiera speme » permet d’entendre des vocalises de toute beauté et qu’elle maîtrise parfaitement. A nouveau, « Strider sento la procella » de l’acte 3 permet à la soprano de déployer tout son talent et emporte l’adhésion du public. [Translated]: Armenian soprano Lilit Davtyan distinguishes herself in the role of Celia. “Se lusinghiera speme” gives us the opportunity to hear coloratura of great beauty, which she masters perfectly. Once again, in the Act III aria “Strider sento la procella”, the soprano is able to display the full extent of her talent, winning the audience completely over.

    • Première Loge

  • Lilit Davtyan war die zunehmend lyrisch-weiche Celia. [Translated]: Lilit Davtyan was a Celia of increasingly lyrical softness.

    • Die Presse
    • 03 August 2026

  • Davtyan besitzt einen lyrischen Sopran mit betörender Höhe, eine veritable Mozart-Stimme. [Translated]: Davtyan possesses a lyric soprano with captivating high notes — a true Mozart voice.

    • Salzburger Nachrichten
    • 02 August 2026

• Rigoletto

  Deutsche Oper Berlin

  Feb 2026

  • Her Gilda in Berlin shone with crystalline technical ease in “Caro nome” and a musical sensitivity that shaped the entire evening. Most moving of all was the final scene, where she revealed a deeply touching dramatic presence. A performance marked by rare purity and expressive maturity.

    • Berliner Morgenpost
    • 23 February 2026

• Giulio Cesare in Egitto

  Fondazione Teatro Petruzzelli

  Sep 2025

  • Lilit Davtyan, la giovane artista, ha unito technica impeccabile e carisma scenico, dando vita a una Cleopatra intensa e moderna. la facilità con cui ha dominato le celebri arie 'V'adoro pupile' e 'Se pietà di me non senti' ha dimostrato un controllo vocale fuori dal comune. Gli applusi a scena aperta e la standing ovation finale hanno suggellato una vera e propria consacrazione. [Transalted] Lilit Davtyan, the young artist, combined impeccable technique with stage presence, bringing to life an intense and modern Cleopatra. The ease with which she mastered the famous arias ‘V’adoro pupile’ and ‘Se pietà di me non senti’ demonstrated her extraordinary vocal control. The spontaneous applause and the final standing ovation sealed her triumph.

    • La Gazzetta del Mezzogiorno
    • 23 September 2025

  • Ma è stata indubbiamente la ventiseienne cantante armena Lilit Davtyan la vera protagonista della serata. La soprano che attualmente vive e lavora prevalentemente a Berlino – che nelle recite si alterna nel ruolo di Cleopatra con Sandrine Piau, ha offerto un’interpretazione di rara bellezza e completezza artistica. La sua voce, caratterizzata da un timbro luminoso e da una tecnica impeccabile, si è rivelata ideale per le arie händeliane. La Davtyan ha saputo cogliere tutte le sfaccettature della regina egizia disegnata da maestro di Halle: dalla seduttrice e sensuale della prima parte all’amante appassionata, fino alla sovrana che lotta con determinazione per il proprio regno. Le arie più virtuosistiche, come le celeberrime “V’adoro pupille”, “Se pietà di me non senti” e “Piangerò la sorte mia” sono state eseguite con facilità tecnica disarmante, mentre nei momenti più intimi la cantante ha dimostrato una maturità espressiva notevole. [Translated] But it was undoubtedly the 26-year-old Armenian singer Lilit Davtyan who was the true star of the evening. The soprano, who currently lives and works mainly in Berlin – and who shares the role of Cleopatra with Sandrine Piau in the performances – delivered a performance of rare beauty and artistic completeness. Her voice, characterised by a luminous timbre and impeccable technique, proved ideal for Handel’s arias. Davtyan captured every facet of the Egyptian queen portrayed by the Halle maestro: from the seductive and sensual figure of the first act to the passionate lover, right through to the sovereign who fights with determination for her kingdom. The most virtuosic arias, such as the famous ‘V’adoro pupille’, ‘Se pietà di me non senti’ and ‘Piangerò la sorte mia’, were performed with disarming technical ease, whilst in the more intimate moments the singer demonstrated remarkable expressive maturity.

    • In Città Giovinazzo
    • 26 September 2025

  • Nelle recite di Giulio Cesare di Händel al Teatro Petruzzelli, il soprano armeno Lilit Davtyan ha conquistato il pubblico con una Cleopatra di sorprendente maturità. La sua voce, luminosa e agile, ha saputo affrontare con disarmante facilità le acrobazie vocali delle arie virtuosistiche, senza mai rinunciare all’intensità espressiva. Nei momenti più lirici, Davtyan ha offerto un canto di rara delicatezza, incantando la platea con la celebre “Piangerò la sorte mia”. [Translated] In the performances of Handel’s Julius Caesar at the Teatro Petruzzelli, the Armenian soprano Lilit Davtyan won over the audience with a Cleopatra of surprising maturity. Her luminous and agile voice tackled the vocal acrobatics of the virtuosic arias with disarming ease, without ever sacrificing expressive intensity. In the more lyrical moments, Davtyan offered singing of rare delicacy, enchanting the audience with the famous ‘Piangerò la sorte mia’.

    • Il Giornale della Musica
    • 23 September 2025

• Werther in Concert

  Deutsche Oper Berlin

  Jul 2025

  • Armenian singer Lilit Davtyan has a beautiful, crystal-clear coloratura soprano, which she uses to great effect for Charlotte’s sister Sophie and excels particularly in her two arias.

    • GB Opera
    • 26 July 2025

• Aix-en-Provence 2024 Voice Residency

  Aix-en-Provence

  Jun 2024 - Jul 2024

  • La soprano Lilit Davtyan met de côté ses vocalises flamboyantes de diva belcantiste pour entrer à pas discrets dans la nuit silencieuse. Elle place le moteur de l’émission vocale en arrière-gorge, comme dans cet arrière-monde qu’est la mort selon George Crumb : « La nuit silencieuse sous un ciel étoilé - Le rivage et la vague au murmure assourdi. », tandis que le piano préparé enrobe la partie chantée d’une harpe d’ondine. Sa voix se fait sinueuse, insinueuse, dans la chair vocale, se glisse comme à l’intérieur du son, la matière micro-polyphonique propre à l’écriture de Ligeti. [translated] Soprano Lilit Davtyan puts aside her flamboyant bel canto diva vocalises to enter discreetly into the silent night. She places the engine of the vocal emission in the back of the throat, as in that afterworld that is death according to George Crumb : "The silent night under a starry sky - The shore and the wave with a muffled murmur.", while the prepared piano envelops the sung part with an undine's harp. Her voice becomes sinuous, insinuating, in the vocal flesh, slipping as if into the sound, the micro-polyphonic material specific to Ligeti 's writing.

    • Florence Lethurgez, Olyrix
    • 29 June 2024