Spotlight on... Kristina Mkhitaryan

Since winning second prize at the 2017 Operalia Competition just over fourteen months ago, soprano Kristina Mkhitaryan’s profile has skyrocketed. The past year has seen her make numerous important house and role debuts, with more still to come in the remainder of this season.In addition, she looks forward to re-invitations to Glyndebourne as Armida in Rinaldo (where her debut last summer prompted one bachtrack reviewer to proclaim that “Glyndebourne may well have had a preview of a singer who will go on to be one of Verdi’s finest interpreters”), the Grand Théâtre de Genève, and the Royal Opera House Covent Garden as Micaëla Carmen.

A graduate of the Galina Visnecskaya Theatre Studio in Moscow, Kristina went on to join the Young Artist Programme at the Bolshoi Theatre in 2012. There, her roles included Gilda Rigoletto, Kseniya Boris Godunov, Amina La sonnambula, La Chouette L’enfant et les sortileges, and Marfa Sobakina The Tsar's Bride. After winning several prizes, including first prize at the Queen Sonja competition in Norway in 2013, she made her first international opera appearances as Violetta at Den Norske Opera in 2015.Perhaps best known for her portrayal of Verdi’s Violetta, Kristina also possesses great vocal skill in the baroque repertoire, with roles including Armida Rinaldo, title role Alcina, Cleopatra Giulio Cesare, Poppea L’incoronazione di Poppea and Euridice Orfeo ed Euridice.

We caught up with Kristina to find out how she's getting on...

You’ve been on a bit of a whirlwind journey since Operalia; how have the last 14 months been for you?

It has been very exciting! I have had amazing opportunities to perform and travel around the world, and have gotten to sing some incredible roles, like Violetta La traviata, Medora Il Corsaro, Gilda Rigoletto, with some of the greatest conductors including Renato Palumbo, Fabio Biondi, Leonardo García Alarcón.

How different does a house debut feel to a return? Does it require different preparation?

A house debut is a fresh start, it’s a chance to explore a different understanding of a role you have performed perhaps many times before in a new space with new perspective. Each director interprets a story in a different way and can rejuvenate a role. I have been very lucky to debut at many different houses in the past year, like Royal Opera House London, The Sydney Opera House, Bayerische Staatsoper, Deutsche Oper, and now at the Metropolitan Opera.

You sing a wide repertoire; do you have a favourite opera and role?

I have many favourite roles, but if I had to narrow it down, I would choose Maria Stuarda, Massenet's Manon (both roles I have yet to sing), Gilda, Alcina and Violetta. These are the roles I feel emotionally connected with, often long after the last performance.

What are you most looking forward to as your career continues to develop?

I am most looking forward to expanding my repertoire, working in new houses, and to continuing lasting relationships with great conductors, directors, and colleagues.