Melody Louledjian, Soprano
Melody Louledjian

Melody Louledjian

Soprano
Bio:
Bio:
Reviews
"LUCIA DI LAMMERMOOR" - CULTURAL CENTER OF THE PHILIPPINES - 2020 ​ To her credit, she transformed this scene into one of her winning moments, singing and acting the mad part with realism and with good taste and using the huge stage space to her advantage. The singing was truly focused, her dialogue with the flute never went astray and in the first part, she got a deafening applause and her first round of Bravas! before she could proceed to her cabaletta. Reaching her finale, her mad scene was truly well-nuanced and the audience reciprocated with incessant applause.  There was even more confidence and vocal focus and a lot more soul on the second. She was loudly cheered. On her Manila debut which was also her debut in the role, she earned her share of laurel not to mention an army of Filipino opera fans who also interrupted her mad scene cabaletta in the aria, “Il dolce suono” with long applause. Pablo A. Tariman, Philippine Daily Inquirer, lifestyle.inq ​ Armenian-Spanish-French soprano Melody Louledjian cut a regal, patrician presence on the stage that befitted Lucia’s aristocratic bearing. There was ease in her acting and her singing disclosed a light texture that was well-oiled in the middle register. Obviously, Louledjian reserved her vocal might for the rendition of the mad scene aria “Il dolce souno” and the ensuing cabaletta, “Spargi d’amaro pianto” that lasted for almost 20 minutes, complete with running around the stage and rolling on the floor! Antonio C. Hila,  Philippine Daily Inquirer, lifestyle.inq
Pablo A. Tariman
lifestyle.inq
"DER KAISER VON ATLANTIS" - ULLMANN / "DER DIKTATOR" - KRENECK OPERA DE TENERIFE - 2019 "Melody Louledjian lässt als Charlotte einen feinen Sopran mit hervorragender Diktion hören, technisch optimal geführt und vielfältig in seiner emotionalen Facettierung. Neben einer vorwiegend lyrischen Linienführung im ersten Teil des nur 30 minütigen Stücks zeigt sie am Ende auch beeindruckendes Potenzial zur Attacke. Spätestens da wird klar, warum Louledjian schon an vielen großen Häusern gesungen hat und ihr Debut in Santa Cruz de Tenerife letztes Jahr mit der Violetta in „La traviata“ gab. Sie widmet sich auch in hohem Maße der modernen Musik." Klaus Billand, Opera Online "Melody Louledjian gives to hear as Charlotte a fine soprano with excellent diction, technically optimally guided and diverse in its emotional facets. In addition to a predominantly lyrical line in the first part of the only 30 minute piece, she also shows impressive potential for attack in the end. By then, it becomes clear, at the latest, why Louledjian has sung in many big houses and made her debut in Santa Cruz de Tenerife last year with the Violetta in "La traviata". She also devotes herself to a great extent to modern music. " Klaus Billand, Opera Online ​ "Por su parte, la soprano, Melody Louledjian como Charlotte, esposa del dictador, mostró sus magníficas dotes vocales desde la primera entrada en “Ich habe Angst”, profundizó en el personaje y formó el contrapunto ideal a la labor de Acosta y Taddia. (...) Melody Louledjian volvió a mostrar sus cualidades vocales e interpretativas en su excelente versión de Bubikopf." Francisco Martínez Ramos, Bachtrack "For her part, the soprano, Melody Louledjian as Charlotte, wife of the dictator, showed her magnificent vocal skills from the first entry in" Ich habe Angst ", delved into the character and formed the ideal counterpoint to the work of Acosta and Taddia. (...) Melody Louledjian again showed her vocal and acting qualities in her excellent version of Bubikopf. " Francisco Martínez Ramos, Bachtrack "Sin olvidar a Melody Louledjian, una fantástica soprano que fue otro Soldado." Estrella ORTEGA, OperaActual "Not forgetting Melody Louledjian, a fantastic soprano who was another Soldier." Estrella ORTEGA, OperaActual "La soprano Melody Louledjian, en el papel ficticio de Charlotte, con su magnífica voz aterciopelada, nos ofreció una actuación impecable; tanto en la voz como en la interpretación. (...) Sin embargo, fue sobresaliente el dueto entre él y Melody Louledjian en el rol de Bubikopf. La sinergia entre ambas voces fue exquisita, ya que unificaron la pureza vocal con una excelente precisión, que dió vida a una escena donde el amor triunfó sobre el odio." Celia García, Darnell González, En Platea "The soprano Melody Louledjian, in the fictional role of Charlotte, with her magnificent velvety voice, offered us an impeccable performance; both in voice and in performance. (...) However, the duet between him and Melody was outstanding Louledjian in the role of Bubikopf. The synergy between the two voices was exquisite, as they unified vocal purity with excellent precision, which brought to life a scene where love triumphed over hate. " Celia García, Darnell González, En Platea
Klaus Billand
Opera Online
LAURETTE - GRETRY - OPERA ROYAL DE VERSAILLES - 2019 "Sans tomber dans la moindre mièvrerie, le chant de Melody Louledjian (Laurette) est empreint de finesse tout autant que de pureté." Charlotte Saulneron, Resmusica "Without falling into the slightest bit of blandness, the song of Melody Louledjian (Laurette) is full of finesse as well as purity," Charlotte Saulneron, Resmusica "C’est à Melody Louledjian qu’échoit l’honneur de défendre la célèbre romance : « Je crains de lui parler la nuit ». Sa voix, très homogène, plus veloutée, plus ronde que celles habituellement entendues dans cette page, rendent les célèbres couplets de Laurette peut-être encore plus touchants qu’ils ne le sont d’habitude." Stéphane Lelièvre, Bachtrack "Melody Louledjian has the honor of defending the famous romance: "I am afraid to speak to him at night". Her voice, very homogeneous, more velvety, rounder than those usually heard on this page, makes the famous verses of Laurette perhaps even more touching than they are usual." Stéphane Lelièvre, Bachtrack "Il revient à Melody Louledjian (Laurette) de chanter l’air « Je crains de lui parler la nuit » rendu célèbre par sa reprise par la Comtesse dans la Dame de Pique de Tchaikovski (acte II). Sa voix est fine comme sa ligne de chant et pure comme son vibrato." Damien Dutilleul, Olyrix "It is up to Melody Louledjian (Laurette) to sing the tune "I fear to speak to her at night" made famous by her resumption by the Countess in Tchaikovsky's Lady of Spades (act II). Her voice is fine like her singing line and pure like her vibrato." Damien Dutilleul, Olyrix "Melody Louledjian est une Laurette délicieuse mais mièvrerie aucune, qui réussit à rendre son air poignant alors même qu’il n’a pas ici l’entourage mystérieux dont l’a habillé Tchaïkovski dans La Dame de pique." Laurent Bury, Forumopera "Melody Louledjian is a delicious but unrepentant Laurette, who manages to make her look poignant even though he does not have here the mysterious entourage with which Tchaikovsky dressed him in The Queen of Spades." Laurent Bury, Forumopera "Pour le personnage de Laurette, Melody Louledjian apporte toute la fraîcheur, l’ingénuité et la mutinerie souhaitées. La jeune soprano s’illustre en particulier dans un air assez remarquable, «Je crains de lui parler la nuit», où sa voix, douce et presqu’hésitante, se cale sur les pulsations des cordes et des flûtes de l’orchestre à l’image des pulsations passionnées de son cœur." Sébastien Gauthier, Concertonet "For the character of Laurette, Melody Louledjian brings all the freshness, the ingenuity and the mutiny desired. The young soprano is illustrated in particular in a rather remarkable air, "I fear to speak to her at night", where her voice, soft and almost hesitant, is wedged on the pulsations of the strings and flutes of the orchestra at the image of the passionate pulsations of his heart." Sébastien Gauthier, Concertonet "Melody Louledjian incarne une très belle Laurette pétillante qui illumine la scène tant pour la clarté de sa voix que pour sa présence." Victoria Okada, Baroquiades "Melody Louledjian embodies a very beautiful sparkling Laurette who lights up the scene both for the clarity of her voice and for her presence;" Victoria Okada, Baroquiades "Laurette is the daughter of the Welshman, Sir Williams (and the girl Don Florestan would woo). She has a charming aria mentioned above, ‘Je crains de lui parler la nuit’, sung by the fabulous Melody Louledjian. When Laurette and Blondel join in duet in ‘Un bandeau couvre les yeux du Dieu qui rend l’amour’, the result is pure magic. Grétry provides a staccato line on flute initially, and Blondel enters singing the same line; later, Blondel and Laurette alternate their lines a quaver (and an octave) apart, staccato, against pizzicato strings. Performed with such care as this, the result could hardly be more captivating. I see Louledjian is due to sing the roles of Der Diktator and Bibukopf in Der Kaiser von Atlantis for Opera Tenerife in December: she clearly is not afraid to explore the repertoire." Colin Clarke, Seen and Heard International "Laurette est interprétée avec goût par Melody Louledjian." Bénédicte Palaux Simonnet, Crescendo Magazine "Laurette is interpreted with taste by Melody Louledjian." Bénédicte Palaux Simonnet, Crescendo Magazine "Melody Louledjian, admirée autrefois dans Ciboulette, est une très charmante Laurette." Sophie Bourdais, Telerama "Melody Louledjian, once admired in Ciboulette, is a very charming Laurette." Sophie Bourdais, Telerama
Laurent Bury
forumopera
"PHEDRE" - LEMOYNE - MÜPA BUDAPEST - 2019 "Œnone de Melody Louledjian suit cet investissement en tant que nourrice et confidente protectrice de Phèdre, finalement repoussée à cause de son complot fomenté contre l’innocent Hippolyte. Elle arbore une voix tendre et subtile, très expressive et précise dans les sautillements mélodiques. Sa zone de confort est le registre aigu, là où son volume sonore s’aligne harmonieusement avec celui du chœur et de l’orchestre." Vojin Jaglicic, Olyrix "Melody Louledjian's Œnone follows this investment as a nurse and protective confidante of Phèdre, ultimately repulsed because of her plot fomented against the innocent Hippolyte. She sports a tender and subtle voice, very expressive and precise in melodic hopping. Her comfort zone is the high register, where its sound volume aligns harmoniously with the one of the choir and the orchestra. " Vojin Jaglicic, Olyrix "Changement radical de profil vocal pour Œnone, puisqu’à Diana Axentii succède Melody Louledjian, non plus nourrice de Phèdre mais plutôt suivante, moins maternelle et plus proche en âge de la reine. Si la voix est plus claire, l’actrice n’en est pas moins expressive, et l’on apprécie les duos qui l’unissent à Phèdre, non pas simplement dialogues déclamés mais vrais moments où les lignes de chant se superposent." Laurent Bury, Forumopera "Radical change in vocal profile for Oenone, since Melody Louledjian succeeds to Diana Axentii , no longer nurse of Phèdre but rather confidente, less maternal and closer in age to the queen. If the voice is clearer, the actress is not less expressive, and we appreciate the duets that unite her with Phèdre, not just declaimed dialogues but real moments where the lines of song overlap. " Laurent Bury, Forumopera
Laurent Bury
Forum Opera
LUIGIA/VIVA LA MAMMA - DONIZETTI - GRAND THEATRE DE GENEVE 2019 "Nous avons gardé la meilleure pour la fin. Musicalement, le rôle de Luigia, la seconda donna, aurait été secondaire sans l’ajout de l’aria finale de « Fausta ». Commencé délibérément de façon caricaturale, il fait vite place à une magnifique démonstration de l’art de Melody Louledjian. L’émission est fraîche et sonore, agile, avec une longueur de voix peu commune et des phrasés admirables. Notre soprano s’impose, au chant épanoui, et au jeu dramatique convaincant." Yvan Beuvard, forumopera.com "We have kept the best for last. Musically, the role of Luigia, the seconda donna, would have been secondary without the addition of the final aria of "Fausta." Started deliberately caricatured, it quickly gives way to a magnificent demonstration of the art of Melody Louledjian. The emission of the voice is fresh and sonorous, agile, with unusual vocal length and admirable phrasings, and our soprano is a must-see, with full-blown singing and convincing dramatic play. " Yvan Beuvard, forumopera.com "Depuis plusieurs années, la soprano Melody Louledjian (Luigia) offre des prestations vocales toutes dignes d’éloges. On lui sait son instrument superbe qu’elle distille comme sortie d’un écrin de velours. Ici, elle saute le pas. La soprano impeccable devient l’artiste en osant détimbrer volontairement sa voix pour chanter « All’eterno felice soggiorno » de l’opéra Fausta. Un moment d’une drôlerie impayable qu’on aurait aimé entendre se prolonger durant tout l’air pour que seule l’ultime mesure soit envoyée à pleine voix." Jacques Schmitt, Resmusica "Since several years now, the soprano Melody Louledjian (Luigia) offers vocal performances all praiseworthy. It is known her superb instrument that she distills as output of a box of velvet. Here she jumps the pace. The impeccable artist becomes the daring artist to voluntarily devote his voice to sing "All'eterno felice soggiorno" by the opera Fausta, a moment of unparalleled joke that we would have liked to hear extended throughout the air so that only ultimate measure be sent out loud. " Jacques Schmitt, Resmusica "Melody Louledjian (Luigia) brille de mille feux dans sa métamorphose de la scène XIII. Tenue du souffle, tension de la ligne mélodique, chaleur du vibrato : tous les ingrédients sont réunis et la soprano recevra une juste ovation." "Melody Louledjian (Luigia) shines brightly in her metamorphosis of scene XIII. Hearing of the breath, tension of the melodic line, heat of the vibrato: all the ingredients are gathered and the soprano will receive a fair ovation. " Tristan Labouret, Bachtrack "La seconda donna Luigia, fille de Mamma Agata, est interprétée par la soprano Melody Louledjian, qui a l’occasion de faire ses preuves lors de « Tu che voli già spirto beato » (Toi qui, esprit bienheureux – scène 13), charmant air final extrait de Fausta de Donizetti. La soprano, d’abord volontairement timide et gauche après le doux solo du violoncelle, déploie progressivement une voix rayonnante." "The Seconda Donna Luigia, daughter of Mamma Agata, is performed by soprano Melody Louledjian, who has the opportunity to prove herself at the "Che vol voli già spirto beato" (You, blessed spirit - scene 13), charming final air from Fausta de Donizetti. The soprano, initially deliberately timid and awkward after the cello's soft solo, gradually unfolds a radiant voice. " Emmanuel Derieux, Olyrix "Sa fille, chantée ce soir par Melody Louledjian, gauche et timide à souhait, se mue en une authentique diva dans l’air ajouté de Fausta. La voix est souple, claire et bien timbrée, longue, et n’appelle que des éloges." "Her daughter, sung tonight by Melody Louledjian, left and shy at will, turns into an authentic diva in the air added by Fausta. The voice is agile, clear and well timbre, long, and calls only praise . " Albert Dacheux, Classiquenews.com "A ses côtés, se révèle sa fille Luigia, magistralement campée par Melody Louledjian, se donnant d’abord l’air timoré de la jeunotte timide, avant d’éblouir dans une aria di baule, un air-valise contenant le finale de la Fausta de Donizetti." "At his side, reveals his daughter Luigia, masterfully camped by Melody Louledjian, first giving the timid air of the shy youngster, before dazzling in an aria di baule, an aria containing the final of the Fausta de Donizetti. " Crescendo-magazine.be, Paul-André Demierre "À ses côtés, il faut saluer le timbre clair et le jeu frais de Melody Louledjian en «Seconda Donna». "At his side, we must salute Melody Louledjian's clear timbre and fresh acting in" Seconda Donna ". Rocco Zacheo, La Tribune de Genève "Très jolie parodie de Melody Louledjian en Luigia." "Lovely parody given by Melody Louledjian in Luigia." Le Temps "Et c’est à la Seconda Donna, Melody Louledjian, que revient le privilège de ciseler avec délicatesse le plus bel air de la soirée : una aria avec violoncelle obligé empruntée à un autre opera de Donizetti." "And it's at the Seconda Donna, Melody Louledjian, that returns the privilege of delicately carving the most beautiful tune of the evening: an aria with a cello, borrowed from another opera by Donizetti." Christophe Imperiali, Le Courrier
Yvan Beuvard
Forum Opera