The voice of a lyric tenor is a promise of elegance, intimacy, and nobility. When this is combined with a timbre that exudes heart and warmth, a feeling for musical direction, language, and expression, then one can speak of a singer who possesses not only technique but also artistic vision. Liparit Avetisyan, the Armenian tenor, embodies all of this – and more.
In his most recent recording with the Kaunas City Symphony Orchestra under the direction of Constantine Orbelian, he presents himself as a mature artist with an astonishing sense of repertoire. The selection of arias leaves no doubt about his self-image: Avetisyan is a modern lyric tenor who confidently navigates the major roles of the repertoire – Nemorino, Edgardo, Alfredo, Duke of Mantua, Rodolfo, Faust, Des Grieux, Lensky, Vaudémont. Yet this isn’t just about stringing together famous numbers; it’s about drawing out character and emotional contours.
From the very first phrase, his great strength is revealed: a natural, supple vocal flow combined with remarkable legato. Avetisyan’s tenor flows unadulterated, with a warm core and that silvery luminosity so sought after in the Italian repertoire. His mastery is particularly evident in the cantabile passages: “La donna è mobile” is not merely sung, but finely modulated, with a wink and precisely the degree of lightness this aria demands, without ever tipping into arbitrariness. In “Che gelida manina,” on the other hand, he brings Rodolfo to life with poetic delicacy—every nuance, every breath arc, every coloristic shading is just right. He masters all the high flights with ease.
Constantine Orbelian proves himself a reliable, stylistically conscious accompanist. The Kaunas City Symphony Orchestra performs transparently, restrained, but by no means colorless. One senses that a dialogue is taking place here on equal terms: the sound balance is finely tuned, the orchestral sound always remains beneath the voice, but is supported by clever phrasing and dramatic sensitivity. The naturalness of the overall sound is particularly striking – nothing seems technically overproduced, no artificial reverberation spoils the experience. The recording sounds as if one were sitting in a well-acoustically sounding hall, in the third or fourth row: present, but not intrusive.
Avetisyan’s performance art extends far beyond mere euphony. He also has a knack for the French style – he sings “Quel trouble inconnu” from “Faust” with a truly captivating blend of introspection and passion, as well as an absolutely assured, unforced high note. The fact that Avetisyan is at home not only on the operatic stage but also on the concert stage is evident in the meticulousness of his musical interpretation. Nothing is left to chance; every phrase is well thought out, but never overly intellectual.
Given these qualities, it’s hardly surprising that Liparit Avetisyan is pursuing an international career at the highest levels—engagements at Covent Garden, the Vienna State Opera, the Opéra de Paris, and with the Berlin Philharmonic. This recording not only documents his current artistic caliber, but also offers a glimpse into the future: one would like to hear this tenor in roles that challenge his lyrical foundation with dramatic expansion—Des Grieux in “Manon” was certainly just the beginning.
This CD is far more than a showcase for an up-and-coming singer. It is a portrait of an artist who is well on his way to establishing himself as one of the defining lyric tenors of his generation. Liparit Avetisyan sings with soul, style, and substance – and Constantine Orbelian ensures that this musical heart shines through in a delicate, transparent soundscape. Anyone who wants to know what a young tenor with world-class potential sounds like should pick up this recording – and be enchanted.

Dirk Schauß, May 2025 (The international cultural platform “Online Merker”)
Beloved Arias
Liparit Avetisyan, tenor
Kaunas City Symphony Orchestra
Constantine Orbelian, musical director
Delos, DE3615