Natalie Aroyan

Soprano
Management:
Australasia
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© Andrew Keshan

Armenian-Australian Lyric 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.

Most recently Natalie performed the title role in Adriana Lecouvreur for Opera Australia and reprised her portrayal of the title role in Aida in Opera Australia’s Sydney and Brisbane seasons.

A principal artist with Opera Australia since 2013, Natalie’s roles have included the title role of Rachel (La Juive), Elena (Mefistofele in concert), Odabella (Attila), Elvira (Ernani), Mimì (La Bohème), Desdemona (Otello), Micaëla (Carmen), Amelia Grimaldi (Simon Boccanegra), and Eva (Meistersinger von Nürnberg, Helpmann Award nomination). She has also performed the roles of Mimì and Marguerite (Faust) for West Australian Opera, Micaëla for Sugi Opera Company, Korea, Mimì for Hanoi Opera, Vietnam and created, directed and performed the classically theatrical event “An Armenian Journey” at The Concourse, Chatswood, to mark the 100th Anniversary of the Armenian Genocide.

Natalie was awarded first place in both The Opera Foundation New York Competition and the Herald Sun Aria Competition. She participated in the International Institute of Vocal Arts program in Tel Aviv, after which she undertook her Professional Studies Diploma at Mannes College, New York, studying with Soprano Ruth Falcon, where she performed the role of Fiordiligi (Così fan tutte), Annina (The Saint of Bleecker Street) and Alice Ford (Falstaff) conducted by Maestro Joseph 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 Renata Scotto in her Tampa Masterclass, participated in The American Institute of Music (AIMS) program in Graz, Austria, and studied with Mirella Freni at the Accademia of Bel Canto in Modena, Italy.

Natalie has also made soloist guest appearances with the Melbourne Symphony Orchestra, Queensland Symphony Orchestra and given numerous performances of Verdi’s Requiem.

Her European engagements have included her debut in Italy, in the roles of Amelia Grimaldi (Simon Boccanegra) at the Petruzelli Teatro di Bari and in the title role of Aida at the Teatro G. Verdi di Busseto, during the Verdi Festival.

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“As the titular Jewess, dramatic soprano Natalie Aroyan triumphs both vocally and in her acting delivery of the vengeful Rachel. She dominates the stage throughout the evening with a terrifying ferocity. Like Brito, Aroyan exposes the full range of her tessitura and boasts incredible command of her lower register. Her “Il va venir” in Act Two is superb. In a recent interview with Limelight, she revealed that she was looking forward to singing her first high D in public. Last night she delivered it to perfection.”

Jansson Antmann

“As Rachel, the Jewess of the title, Natalie Aroyan rises to the strength, power and emotional range of a true dramatic soprano, cutting through the large ensembles with chorus while creating persuasive on-stage chemistry in ensembles.”

Peter McCallum

“……..an aural splendour. Soprano Natalie Aroyan performs the role of Rachel with a depth and passion fitting for the role and its wide swings in range. She pulls it off brilliantly.”

“…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

“…Natalie Aroyan sang 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

“…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

“…Natalie Aroyan sang 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

“… 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

Managed by Graham Pushee: Email Graham February 2024

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