ManéGaloyan

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  • Soprano

About Mané

Armenian soprano Mané Galoyan, winner of the 2021 Operalia Second Prize, Zarzuela Prize, and Rolex Audience Prize, was described by Online Merker as "a magnificently dazzling, lyrical soprano, whose infinite, sul fiato floating piani in the shattering solo 'Senza mamma' is nothing short of magical." She was also hailed for her recent "spellbinding performance" of Traviata by the Santa Fe New Mexican.

Galoyan's 2024-2025 season highlights include a house debut at the Lyric Opera of Chicago, where she will sing Gilda in Rigoletto. She will also make her role and house debut as Micaëla in Carmen at the Royal Opera House in London, and have two more role and house debuts: as Vitellia in La Clemenza di Tito at the Monte Carlo Opera and as Liu in Turandot at the Theater Basel. Additionally, Mane will return to the Bayerische Staatsoper as Adina in L'elisir d'amore.

Last season, she performed Suor Angelica and Lauretta in a new production of Il Trittico at the Deutsche Oper Berlin, Pamina in Die Zauberflöte at 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. Some concert highlights included Rachmaninoff’s The Bells with The Hallè at the BBC Proms, a performance with Plácido Domingo and the Sinfonietta de Lisboa, and a gala concert with the Detroit Opera Orchestra.

Previous highlights include Luisa Miller with Oper Köln, Berthe in Le prophète with Aix-en-Provence Festival, recently released to great acclaim 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, released as a recording.

As an Ensemble member with the Deutsche Oper Berlin in 2021-2022, Ms. Galoyan performed Pamina in Die Zauberflöte, Violetta in La Traviata, and Corinna in Il viaggio a Reims, among other roles. As a guest, she made her debut with Dutch National Opera as Violetta, and performed the title role in Luisa Miller with the Glyndebourne Festival. She also stepped in for an ailing colleague to sing Adina for her debut with Paris Opéra in October, 2021, and sang Walter in La Wally with the Munich Radio Orchestra. In the 2020-2021 season, she debuted with Zürich Opernhaus as Adina in L’elisir d’amore and performed Garsenda in Francesca da Rimini with Deutsche Oper Berlin.

In previous seasons, Ms. Galoyan made her Metropolitan Opera debut as Prilepa/Chlöe in Pique Dame, conducted by Vasily Petrenko. A former Studio member of Houston Grand Opera, Mane has performed Violetta, Gilda in Rigoletto, and Adina. She has performed Violetta with the Glyndebourne Festival on tour, Gilda with Kentucky Opera, debuted with Hawaii Opera Theatre as the Countess in Le Nozze di Figaro. 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, Mahler’s Symphony No. 2 with the Aspen Music Festival, 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. Other concert performances have included 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 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 is married to conductor Roberto Kalb.

Mané is based in Detroit, USA

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Contact

For availability and general enquiries:

Mathieu Levan

Mathieu Levan

Assistant Artist Manager

Representation

General management with Askonas Holt (excl. Canada, USA & Asia) Partner Managers: Sam Snook, IMG (Canada, USA & Asia)

Season Highlights

Sep 2024
Chicago Lyric Opera
Verdi: Rigoletto (Gilda)
Oct 2024
Bayerische Staatsoper
Donizetti: L'elisir d'amore (Adina)
Jan 2025
Opéra de Monte-Carlo
Mozart: La Clemenza di Tito (Vitellia)
Mar 2025
Theater Basel
Puccini: Turandot (Liu)
Apr 2025
Osterfestspiele Salzburg
Mahler: Symphony No. 2 (Soloist)
Jun 2025
Royal Opera House
Bizet: Carmen (Micaëla)

Photos

Selected Repertoire

Bizet

Carmen (Micaela)

Donizetti

L'Elisir d'amore (Adina)

Gassmann

Opera Seria (Smorfiosa)

Meyerbeer

Le prophète (Berthe)

Mozart

Don Giovanni (Donna Anna)   •   Le Nozze di Figaro (Contessa)   •   Die Zauberflöte (Pamina)

Puccini

La bohème (Muestta)   •   Il trittico (Suor Angelica / Lauretta)

Rossini

Viaggio a Rheims (Corinna)

Verdi

La traviata (Violetta)   •   Rigoletto (Gilda)   •   Luisa Miller (Luisa Miller)

News

Press

  • RACHMANINOV The Bells

    BBC Proms
    Jul 2023
    • Sensual languor in the rhapsodic Hallé strings (led by Roberto Ruisi) marked the bells of nuptial bliss, with soprano Mané Galoyan robust and radiant above.

    • Making Proms debuts, soprano Mané Galoyan... offered respectively a ripe, seductive counterpart to the orchestra’s grit and dark vocal heft that blended seamlessly into the chorus.

  • MEYERBEER Le prophète

    Aix-en-Provence Festival
    Jul 2023
    • Soprano Mané Galoyan was an immense delight. A lyric-spinto with much strength and dynamic control. She captivated the audience from moment one of Act one. Among all of her great accomplishments, I must say that the most historical moment is her death scene, accompanied by a beautiful cello solo in the final three minutes or so of the trio,“Ô spectre, ô spectre épouvantable!

  • VERDI Luisa Miller

    Oper Köln
    Mar 2023
    • Sie ist eine hinreißende Luisa, deren Gesang technisch perfekt ist und deren Darstellung der Luisa zu Tränen rührt. Ihre Stimme hat die kristallene Klarheit, sich über jedes Orchester zu erheben, die extremsten Koloraturen zu meistern, und eine wundervoll weiche Mittellage, die großen Gefühle der Liebe und Entsagung auszudrücken. Dabei strahlt sie mädchenhaften Charme aus. She is a gorgeous Luisa whose singing is technically perfect and whose performance brings Luisa to tears. Her voice has the crystalline clarity to rise above any orchestra, to master the most extreme coloratura, and a wonderfully smooth middle register to express the great feelings of love and renunciation. She exudes girlish charm. (Translated)

    • Sopraan Mané Galoyan weerspiegelde de kwetsbaarheid van Luisa briljant, haar pianissimi waren hartveroverend. Soprano Mané Galoyan brilliantly reflected Luisa's vulnerability, her pianissimi were captivating. (Translated)

    • Mit weißer Bluse, Strickjacke und knielangem Rock ist diese Luisa ein adrettes Mauerblümchen, nicht ohne Selbstbewusstsein, und die junge armenische Sopranistin Mané Galoyan beglaubigt das mit anrührend mädchenhaftem, beweglichem und doch groß auftrumpfendem Sopran. Sie hebt die lyrischen und von der Melodie getragenen Momente hervor und singt die Koloraturen wie nebenbei, agiert damit auch stimmlich ganz im Sinne der Regie. With a white blouse, cardigan and knee-length skirt, this Luisa is a dapper little wallflower, not without self-confidence, and the young Armenian soprano Mané Galoyan certifies this with a touchingly girlish, flexible and yet boasting soprano. She emphasizes the lyrical moments carried by the melody and sings the coloratura casually, acting vocally in the direction of the director. (Translated)

  • SMYTH The Wreckers

    Houston Grand Opera
    Oct 2022
    • Armenian soprano Mané Galoyan sang with momentum and brilliant high notes, giving a convincing interpretation of Avis's jealous and spiteful temper.

  • VERDI Rigoletto

    Houston Grand Opera
    Oct 2019
    • Soprano Mané Galoyan shines as Gilda, conveying her innocence and purity of heart through her luminous tone. Her rendition of “Caro nome” enraptured the audience. As the orchestra rested in the aria’s final moments, Galoyan stunned with her flexibility and control, singing with exquisite intimacy that still resonated in a space as large as the Wortham. The opera’s bewildering conclusion—Gilda’s untenable decision to sacrifice her life for the lecherous Duke of Mantua—is made as coherent as possible through Galoyan’s earnest performance.

    • The role of Gilda may once have belonged to light sopranos, but Mané Galoyan brought it a richness of voice that, alongside the heft of Mayes’ Rigoletto, made Gilda for once sound like her father’s daughter. In Gilda’s first scene with the youth she thinks is a penniless nobody — actually the skirt-chasing duke — Galoyan’s warm, vibrant singing captured the depth of Gilda’s feelings for him. Thanks to Galoyan’s richness, as well as a flowing pace aided by conductor Jordan de Souza, “Caro nome” went beyond sweetness to convey Gilda’s ardor and commitment. At the aria ascended to its close, Galoyan’s silvery pianissimos shined a fresh light on Gilda’s emotional transports. When the duke, having seduced and discarded Gilda, returns her to Rigoletto, Galoyan’s full, vibrant singing made her “Tutte le feste” into a groundswell of anguish. And in the last scene, as Gilda resolves to let the killer Sparafucile assault her rather than the duke, Galoyan’s voice surged atop the ensembles — including the famous Quartet — to lend Gilda heroic stature.

    • Mané Galoyan’s Gilda demonstrated the expressive value of mezza voce shadings. Her full, strong, diamond-bright lyric soprano could turn a little hard on top, and she smoothed out the coloratura flights and filigree in “Caro nome” a bit, but she floated some lovely pianissimos and commanded all the power needed to drive home the last-act trio.