mane final.jpg
 
It’s a voice of dazzling security and range, topped by a wonderfully projected mezzo voce that makes you hang onto every note...
— Classical Source
 
 

Armenian soprano Mané Galoyan, whom Classical Source exclaimed, “…is a real find…” is making a splash in the classical music industry. In the most recent season, Ms. Galoyan makes her Metropolitan Opera debut, singing Prilepa/Chlöe in Pique Dame, conducted by Vasily Petrenko. She also returns to Houston Grand Opera to sing Gilda in Rigoletto, debuts with Hawaii Opera Theatre as the Countess in Le Nozze di Figaro, and the role of Giannetta and cover of Adina in L’elisir d’Amore with Glyndebourne Festival. Finally, she will offer a solo recital with Cypress Creek FACE in the greater Houston area, and a residency with Musical Bridges in San Antonio, including recital and chamber music programs.

For the 2018-2019 season, Ms. Galoyan performed Violetta with the Glyndebourne Festival on tour and Gilda in Rigoletto with Kentucky Opera and Wolf Trap Opera. 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 and Mahler’s Symphony No. 2 with the Aspen Music Festival. As part of her final season with the Houston Grand Opera Studio in 2017-2018, she performed Violetta and the Confidante in Elektra.

In the 2016-17 season, Ms. Galoyan performed Adina at the Houston Grand Opera. She also performed 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.

Mané Galoyan made her Houston Grand Opera debut as the Kitchen Girl in Rusalka in the 2015-2016 season, where she also performed the roles of Margaret Hughes in the world premiere of Carlisle Floyd’s Prince of Players, the Forest Bird in Siegfried, and Lucy Goodman in the world premiere of David Hanlon and Stephanie Fleischmann’s After the Storm, produced by HGOco. That same season, Ms. Galoyan made her Wolf Trap Opera debut as Smorfiosa in Florian Leopold Gassmann’s L’opera seria.

Ms. Galoyan’s extensive concert performances include 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 is a graduate of the Houston Grand Opera Studio, and 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 was also a participant in the HGO Young Artist Vocal Academy in 2013. She currently resides in Houston.

HGO+Studio+-+Mane+Galoyan+-+Look+1+-+Photographer+Lynn+Lane-10-1.jpg

2019-2020 Season 

Rigoletto

Gilda

Houston Grand Opera

October 18, 20, 26, 29 and November 1

more info


Queen Of spades

chloe/prilepa

The metropolitan opera

November 29 and December 2, 5, 8, 14, 18, 21

more info

recital with sahar nouri

Cypress Creek Face Foundation

John Wesley United Methodist Church

December 10

more info

Le nozze di figaro

Contessa Almaviva

Hawaii opera theater

February 14, 16 and 18

more info

recital with jolente de maeyer and nikolaas kende

musical bridges around the world

san Fernando cathedral, san antonio

april 12

more info

L’elisir d’amore

giannetta/Adina(cover)

Glyndebourne festival

May 23, 28, 31, June 2, 5, 7, 11, 14, 19, 23, 26, July 2, 8, 14, 18

more info





Mane Pennzoil (2 of 1).jpg

Des Moines Metro Opera, La boheme

“Mané Galoyan discovered her own spunky take on Musetta, one that was longer on sensuality than it was on sass. This not only paid good dividends in Act II’s tease of Marcello, but also laid the groundwork for the more serious side she demonstrates by opera’s end. Ms. Galoyan is a highly proficient soprano, attractive and secure, and she knows just how to utilize it to maximum effect. I am not sure I have ever heard the penultimate note of Quando m’en vo held to such maximum length and effect.” – Opera Today, James Sohre

Rachmaninoff’s The bells, Dallas Symphony

"The Mellow Wedding Bells" is less celebratory than you'd expect, more introspective, even unsettled — as if evoking a dream. Armenian soprano Mané Galoyan sang gloriously, from elegantly caressed introspections to soaring effusions. – Dallas News

“…in the second movement, “The Mellow Wedding Bells,” the young Armenian-born soprano Mané Galoyan, currently based in Houston, gave Dallas audiences a taste of her dark-textured vocal qualities and dramatic flair, obvious even in this concert performance.” – Texas Classical review

Glyndebourne Festival Opera on Tour, La Traviata

Mané Galoyan steals the show in a Traviata for our age…

“Armenian soprano Mané Galoyan gave us an emotionally intense and touchingly fragile Violetta. She sang with bright, if not overly full, tone and precise control, which allowed her to portray fragility in some beautiful pianissimo singing. Even at her opening party in Act 1, she is clearly not the hostess in control, with her vulnerability already evident, and Galoyan convincingly managed the gradual unravelling of her battle with her illness….Ultimately, it was Galoyan who stole the show with her emotionally convincing portrayal of a woman brought down not just by ill health, but by society’s need to squash her transgression.” – Nick Boston, Bachtrack

“…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.“ – Classical Source

Aspen Music Festival

“…the highlight, though, was soprano Mane Galoyan. A second-year member of the Houston Grand Opera’s development program (she will be singing the title role later this month here in “La Traviata”), Galoyan lavished gorgeously pure tone and personality on a series of Russian and Armenian songs, accompanied responsively on piano by Kenneth Merrill. Most memorable were the charm of “The Rat Catcher,” the first of four Rachmaninoff songs, and the drama of Medtner’s “Our Time” and Mirzoyan’s “I Had a Dream,” which concluded the sequence.” – Harvey Steiman, The Aspen Times

Houston Grand Opera, Siegfried

“Mane Galoyan pierced the sky as the unforgettable forest bird who guides Siegfried.” –  Joseph Campana, Houston Chronicle

Houston Grand Opera, Prince of Players

“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

“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

San Antonio Symphony, Mahler 4

“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



IMG_logo_master-web-colours.jpg

General management

Sam Snook

ssnook@imgartists.com

+1 212 994 3544