Armenian soprano Mané Galoyan, the 2021 Operalia Second Prize, Zarzuela Prize and the Rolex Audience Prize winner, whom the Houston Press exclaimed was “..radiant as dewy Gilda in her first throes of love, heavenly as a daughter disgraced, and positively stoic as martyr…she possesses a crystalline voice that cuts through any orchestral texture. She waltzed through Verdi's dramatic coloratura without effort. She can float incandescent pianissimos then belt with Verdian thunder.”

In the current season Ms. Galoyan will sing Suor Angelica and Lauretta in a new production of Il Trittico with Donald Runnicles at the Deutsche Oper Berlin, Pamina in Die Zauberflöte with 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. In concert, she will sing Rachmaninoff’s The Bells with Swedish Radio Orchestra, and a holiday concert with the Basel Symphony Orchestra.

 In the 2022-2023 season, Ms. Galoyan performed the title role in Luisa Miller with Oper Köln, Berthe in Le prophète with Aix-en-Provence Festival, to be released 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, to be later 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 aGuest, 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, Ms. Galoyan 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 Gwith 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. Otherconcert 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 toconductor Roberto Kalb.

Metropolitan Opera, Queen of Spades

“A HIGHLIGHT of the Met’s 2019 revival of The Queen of Spades was the Act II pastorale, in which Mané Galoyan’s firm, fruity timbre and deft phrasing transformed the shepherdess Chloé into a star turn....” - Opera News

Houston Grand Opera, Rigoletto

“…But pride of place in HGO's Rigoletto must go to soprano Mané Galoyan, another former HGO Studio artist. Radiant as dewy Gilda in her first throes of love, heavenly as a daughter disgraced, and positively stoic as martyr, she possesses a crystalline voice that cuts through any orchestral texture. She waltzed through Verdi's dramatic coloratura without effort. She can float incandescent pianissimos then belt with Verdian thunder. You always knew where she was on stage, just follow that distinct, clear voice.” - Houston Press

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



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