© Andrew Keshan
Verdi Requiem, Royal Melbourne Philharmonic
“…The voluptuous voice of Armenian Australian soprano Natalie Aroyan is almost enough to make you wonder whether it is necessary to pay a small fortune to hear Anna Netrebko when we have such talent in Australia. A creamy sound with, in general, a nicely rounded, floating top register, fullness throughout the range, and excellent breath control served Verdi’s intentions well. There was weight of sound that soared above choir and orchestra without the obtrusive vibrato that sometimes accompanies it. The earnest plea at the beginning of the Libera me was only one example of her ability to infuse the text with colour and drama.”
Heather Leviston, Classic Melbourne, May 14 2017
Carmen, HANDA Opera on Sydney Harbour
"...Natalie Aroyan sand Michaela with abundant strength and warmth, though was not entirely well served by the amplification in her Act II aria, delivered dramatically from atop a container suspended by a crane high above the stage."
Peter McCallum, Sydney Morning Herald, March 27 2017
Amelia Grimaldi, Simon Boccanegra, Opera Australia
“… Soprano Natalie Aroyan gave one of her finest OA performances as Boccanegra’s long-lost daughter Amelia Grimaldi. Her voluptuous tone and fluid phrasing created a vivacious portrayal of the opera’s most appealing character.”
Murray Black, The Australian, 28 July 2016
“…As his long-lost daughter Amelia, Natalie Aroyan has comparable vocal warmth and comeliness, projecting rounded colour and balance of tone alongside humility of character”.
Peter McCallum, Sydney Morning Herald 28 July 2016
Mimi, La boheme, Opera Australia
“…As Mimi, Armenian-Australian Natalie Aroyan sang with a voice rich in colour and complexity, creating lines that balanced naturalness with expressive shape.
She has thrilling sounds in the top register and dramatic firmness in the lower notes of the last act. Her characterisation was more of warmth than pallor and she maintained a centred stage presence moulded around the richness of her voice.”
Peter McCallum, Sydney Morning Herald, January 7 2016
Marguerite, Faust, West Australian Opera
“Natalie Aroyan captured Marguerite’s purity with delightful bubbliness, reaching creamy top notes with ease in the Jewel Song. In a production high on visual effects, her endlessly beautiful soprano … brought the attention back to the music”.
Rosalind Appleby, The West Australian October 30 2015
Michaëla, Carmen, Opera Australia
“…Chief honours amongst the supporting cast must go to Natalie Aroyan, singing Michaëla……….She’s a Moffatt Oxenbould Young Artist who has studied with Freni, Bonynge and Te Kanawa and it shows. Her big aria was winningly sung with excellent diction and clarity, building a more confident character than can sometimes be the case”’.
Clive Paget, Limelight February 4 2014
Mimi, La boheme, West Australian Opera
“…The strong cast delivers a convincing performance, with exceptional contributions by Natalie Aroyan as Mimi…Aroyan’s warm, floating sound is perfect for Mimi’s character, bringing a vulnerable tenderness to the role. Her Act I solo was a highlight of the night, intensely expressive and heartfelt yet never losing its tonal beauty.”
Mark Coughlan, The Australian, October 31 2013
Armenian-Australian Soprano Natalie Aroyan holds a Postgraduate Diploma of Opera from the Sydney Conservatorium of Music and a double-degree in Business and I.T. from the Australian Catholic University, Sydney.
In 2008 Natalie was awarded first place in both The Opera Foundation New York Competition and the Herald Sun Aria Competition. She commenced her Professional Studies Diploma at Mannes College, New York, in 2009 studying with Soprano Ruth Falcon and in January 2010, performed the role of Amelia, in the Opera Studio Scenes Production of Un Ballo in Maschera, as well as the role of Fiordiligi in their main stage production of Cosi fan tutte conducted by Maestro Joseph Colaneri. In her final year at Mannes she sang Annina in Menotti’s The Saint of Bleecker Street and Alice in Verdi’s Falstaff, also under the baton of Maestro Colaneri.
As well as attending the “Solti Te Kanawa Accademia” program in Tuscany, Italy where she worked with both Maestro Richard Bonynge and Dame Kiri Te Kanawa, Natalie has worked with Maestra Renata Scotto in her 2010 Tampa Masterclass and participated in The American Institute of Music (AIMS) in Graz, Austria, where she won first place and was also awarded the audience vote in the 49th Meistersinger Competition Finals.
On her return to Australia in 2011, she was awarded first place in The Italian Opera Foundation competition which enabled her to spend a year in Italy studying with soprano, Mirella Freni in her studio at the Accademia of Bel Canto in Modena, Italy. Following this Natalie was invited as a Guest Artist to cover the title role of Gluck’s Armide for the joint Lindemann / Juilliard Production in New York, USA.
Now a principal artist with Opera Australia, Natalie's roles in 2018 include the title role in Aida, Eva in Die Meistersinger, Micaela in Carmen and covering Tosca. She also returns to the Melbourne Symphony for an Opera Gala at the Myer Music Bowl.
Last year her roles for Opera Australia included Micaela in Carmen for Handa Opera on Sydney Harbour, the title role in Aida (on the beach) as well as concert performances in the Great Hits and Salon series. Natalie also gave her debut performances of the Verdi Requiem with the Royal Melbourne Philharmonic Society in Hamer Hall, Melbourne and in Sydney Town Hall (SUGC) Her other roles for Opera Australia include Mimi (La bohème), Desdemona (Otello), Amelia Grimaldi (Simon Boccanegra) and High Priestess (Aida) and covering the title role in Luisa Miller, Gutrune in the Melbourne Ring Cycle and Elisabetta in Don Carlos. She has also appeared at Opera in the Park, in the Domain and at Opera in the Vineyard, in the Hunter Valley, performed Mimi and the role of Marguerite (Faust) for West Australian Opera, sung Micaela for Sugi Opera Company, Korea and a recital at The Concourse, Chatswood, to mark the 100th Anniversary of the Armenian Genocide, as well as making her debut with the Melbourne Symphony Orchestra performing the Letter Scene from Eugene Onegin (Tchaikovsky).
Natalie Aroyan is managed by Graham Pushee: email@example.com
This biography is for general information purposes only and not for publication.
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