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Tenor
Hovhannes Ayvazyan
…tremendous vocal and dramatic power
Represented by
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Biography Highlights
Upcoming & Recent
Recent and future engagements include: Rodolfo Luisa Miller at Hamburg State Opera, title role in Otello at Greek National Opera, Manrico Il Trovatore at Staatoper Hannover, title role in Otello in Prague, Radames Aida in Prague, debut at NCPA Beijing with the title role in Otello, Cavaradossi Tosca with Teatr Wielki Warsaw, Andrea Chenier at Gwangju Culture and Art Center, Manrico Il Trovatore with Daegu International Opera, Don Jose Carmen at Armenian National Opera, Teatr Wielki Warsaw, Bolshoi Theatre Moscow, Mariinsky Theatre, Calaf in a new production of Turandot at Poznan Opera, Don Alvaro La forza del destino at the Frankfurt Opera and at the Mariinsky theatre, Riccardo Un ballo in maschera and Rodolfo Luisa Miller at the Bolshoi Theatre, Otello at Poznan Opera, Hungarian State Opera, Wiesbaden and at Armenian National Opera, Pinkerton Madama Butterfly at Armenian National Opera, Radames Aida at the Dubai Opera, Arena di Verona, Oper im Steinbruch, Teatr Wielki Warsaw, Royal Danish Opera and Mariinsky Theatre, Manrico at Müpa Budapest, to name a few.
Portraits
© Armen Aghayan
Hovhannes Ayvazyan as Calaf - Turandot
Hovhannes Ayvazyan as Calaf - Turandot
Hovhannes Ayvazyan as Otello
Hovhannes Ayvazyan as Otello
Hovhannes Ayvazyan as Don Jose
Hovhannes Ayvazyan as Don Jose
Reviews & Press
Verdi, G. - Otello - Otello
The Armenian tenor Hovhannes Ayvaziyan delivered an Otello of great stage presence and extraordinary character portrayal. Confident and full-bodied in “Esultate,” he was poetic and somewhat nostalgic in the first-act duet with Desdemona, especially in “È il fazzoletto ch’io le diedi, pegno primo d’amor.” He fully commands the role, and his well-crafted vocal line together with his attractive timbre won over the audience.
- Paulo Silva , Operaworld
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Hungarian State Opera - Otello - Otello
… it is one of the greatest tests of the role and of tenor literature. He won the part with tremendous vocal and dramatic power, almost making the audience fear how he would manage to carry it off so volcanically - but he did. Alongside this, he showed not only Otello's emotions, but also his inner torment, with a sincere, heartfelt performance. ... Béla Abody once wrote of Mario Del Monaco’s Otello: a great temperament, but not a great soul. Ayvaziyan's Otello is both a great temperament and a great soul. In him, the Opera House has found a great treasure
momus
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Grand Theatre Poznan - Puccini, G. - Turandot - Calaf
Hovhannes Ayvazyan was a captivating Calaf. His dark and at the same time very resonant spinto tenor reminds me of the timbre of Mario del Monaco. He showed off his power and richness, as the part requires, but he often surprised with a juicy piano, as in the first phrases of the aria "Non piangere Liu" or an incredibly fluid diminuendo, as in the ending of his riddle for the princess: "Dimmi il mio nome prima dell'alba e all'alba moriro".
