Susanna Martirosyan, an esteemed Armenian soprano, has carved a niche for herself in the classical music world with her exquisite vocal technique and captivating stage presence. Educated at the Yerevan State Conservatory named after Komitas, Martirosyan’s formidable skills were honed from an early age under the mentorship of renowned opera talents and instructors.

Her professional journey began with an influential internship at the Armenian National Academic Theatre of Opera and Ballet named after Alexander Spendiaryan, spanning from 1977 to 1979, where she first gained recognition for her innate ability to breathe life into complex operatic roles. This was followed by a formative period from 1984 to 1986 at one of the world’s most prestigious opera houses, Teatro Alla Scala in Milan, under the guidance of the legendary soprano Giuletta Simionato. There, she deepened her understanding of operatic expression and refined her vocal artistry, qualities that would define her career.

Further enhancing her skills, Martirosyan attended the Verdi Academy of Music in Busseto, Italy, where she completed the High Courses of Improvement. Her international career blossomed as she graced the stages of the world’s most esteemed opera houses, bringing to life a wide array of iconic roles with both finesse and power. Notable performances include Leonora in “Il Trovatore,” Elizabeth of Valois in “Don Carlos,” Aida in “Aida,” and Donna Elvira in “Don Giovanni,” among others.

Martirosyan’s prowess was recognized in numerous international singing competitions, earning her laureate titles in Toulouse, France; Pavia, Italy; and the Grand Prix at the “French Melodie” International Competition after Debussy in Paris. Her career reached a significant milestone in 1993 when she joined the Mariinsky Theatre as a soloist. There, she performed under the batons of renowned conductors such as Valery Gergiev, Alexander Titov, and Boris Gruzin, further establishing her as a leading figure in opera.

With a repertoire that spans over 30 major opera roles, Martirosyan has also excelled in oratorios like Verdi’s “Requiem” and a plethora of cantatas by Mozart and Schubert, showcasing her versatility across various forms of classical music. Her commitment to her craft extends beyond performance; she has been a pivotal figure in nurturing the next generation of vocalists. As the former chair of the Voice Department at the Yerevan State Conservatory, she has mentored many students who have gone on to achieve international success.

Today, Susanna Martirosyan continues to inspire and teach, sharing her wealth of knowledge and passion for opera with students and audiences alike, making her a revered figure in the global music community.

This enriched biography emphasizes Susanna Martirosyan’s extensive training, diverse roles, competition accolades, and educational contributions, painting a detailed portrait of her as not only a performer but also a mentor and educator in the field of opera.