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Our ArtistsAline KUTANsoprano BiographyThis young Canadian soprano of Armenian origins made her debuts at the age of 18 in the role of Flora (The Turn of the Screw from Benjamin Britten) with the Vancouver Opera. She studied at the University of British Columbia in Vancouver and at the Laval University of Quebec. Before starting her operatic career, Aline Kutan took part in a two year tour in Canada of the production of Andrew Lloyd Weber’s Phantom of the Opera. In 1995, Aline Kutan won the Metropolitan Opera Competition in New York, where she sings under the direction of Julius Rudel. This was the starting point of a great career both in Europe and in America.
Her debuts have been identified with the role of Lakmé which she sings for the first time with Arizona Opera in 1996. Then, she sings the role with Opéra d’Avignon, Opéra de Toulon, the Badisches Staastheater of Karlsruhe and more recently with Opéra de Montréal and Michigan Opera in Detroit . In parallel, she obtains great success in the role of the Queen of the night (Die Zauberflöte) with the Opera de Tours, then with Opéra d’Avignon, Valencia Opera for her debuts in Spain. She sings again the role with New-York City Opera, and with Saint-Céré Festival (Television broadcast), Québec Opera, Vichy Opera, the Badisches Staastheater of Karlsruhe, Metz Opera and Chorégies d’Orange, Capitole de Toulouse, Opera de Marseille and Lille Opera in 2006.
In the past seasons, she sings in America Sylvie (La Colombe from Gounod) with the Opéra Français de New York at Lincoln Center, Adèle (Fledermaus) with Opera Ontario. In Europe, she is Zerbinetta (Ariadne auf Naxos) with Théâtre du Capitole de Toulouse and again for her debuts with Teatro San Carlo di Napoli, Anne Trulove (The Rake’s Progress) with the Opéra de Metz and Avignon Opera, Olympia (Les Contes d’Hoffmann) with the Opéra Royal de Wallonie, Massy Opera and Grand-Théâtre de Genève, Anoush with Michigan Opera, Russlan and Ludmilla with the Badisches Staastheater of Karlsruhe, Alice of Le Comte Ory with Metz Opera, Constanze of Die Entfürung aus dem Serail in Quebec Opera and Vancouver Opera , the Blumenmädchen of Parsifal with Opera de Paris-Bastille, Les Rois (a World Premiere from Philippe Fenelon) in Grand Theâtre de Bordeaux , the Queen of the Night with Glyndebourne Festival, Opera National de Paris and Santiago Opera in Chile, Zerbinetta with Montreal Opera, Titania from Mignon with Opéra d’Avignon. She made her debut in Scala in the role of Semele of Salieri's Europa Riconosciuta conducted by Riccardo Muti.
In concert, Aline Kutan sang Carmina Burana with the Grands Ballets Canadiens and the Vancouver Symphonic Orchestra. Under the baton of Charles Dutoit, she sings the Concerto for colorature soprano op82 (Glière), Stravinsky’s Mavra and L’Enfant et les Sortilèges, with the Orchestre Symphonique de Montréal. She sings the Mess in c minor, Bastien et Bastienne and the Concert Arias from Mozart with the Orchestre Symphonique de Montréal, Mozart Requiem with the Edmonton Symphonic Orchestra, Haendel’s Messiah with various orchestras and the role of Morgana in Alcina. More recently she sang Carmina Burana in Toronto, Teatro San Carlo in Naples, Chorégies d’Orange and Capitole de Toulouse, Mahler 2nd Symphony with Orchestre Metropolitain of Montreal, a recital in Lanaudière Festival.
Among her projects : the shepherd from Tannhäuser with Montreal Symphony Orchestra conducted by K Nagano, the queen of the night with Monte Carlo Opera, Toronto Symphony Orchestra, Pacific Opera Victoria, concerts in France and Canada. Press review2008-06 La Traviata- Green mountain Opera Festival
Montreal soprano Aline Kutan, in her first time in the role of Violetta, delivered a brilliant, sensitive performance...her performance in the second act took on real depth. The quiet moments were particularly powerful, tearing at the heart-strings, as she finds that she must leave her newfound love.
Jim Lowe - Times Argus 2007 (january) - Lakmé - Montreal Opera
La soprano colorature Aline Kutan dans le rôle-titre, crée un personnage fort captivant et d'une absolue fraîcheur. Elle habite entièrement le personnage d'une prêtresse chaste et brûlante d'amour. Retenons au premier acte, le charmant duo avec Mireille Lebel, Viens, Mallika, où les voix comme des lianes en fleurs s'entrelacent à un jardin suspendu, dans la douceur d'un matin parfumé. À ces épanchements exotiques de la flore indienne, s'ajoute l'érotisation de la femme. Technicienne hors du commun et d'une musicalité sans faille, Aline Kutan a le sens des nuances. D'une agilité extraordinaire et d'une maîtrise parfaite, elle se joue de toutes les difficultés de la partition. Les vocalises voluptueuses de La Légende de la fille des parias, deviennent une sorte de Kama Sutra de la virtuosité, attirant dans ses rets, son amant Gérald. Son français est impeccable (Res Musica - Jacques Hétu- February 2007)
She sang Lakmé with the innocence that makes this opera work. (Kutan sang at Waitsfield's Bundy Center in a benefit for the Green Mountain Opera Festival just a year ago.) Her voice had a simplicity that made her more a girl than a woman, perfect for this unworldly character. The sound was brilliant and clear, as was her technique. When she virtually aced the virtuosic "Bell Song," the audience nearly stopped the performance with its prolonged applause. But, it was in the more tender moments that Kutan revealed her ability to touch the heart.(Montreal Now February 2007) She sang Lakmé with the innocence that makes this opera work. (Kutan sang at Waitsfield's Bundy Center in a benefit for the Green Mountain Opera Festival just a year ago.) Her voice had a simplicity that made her more a girl than a woman, perfect for this unworldly character. The sound was brilliant and clear, as was her technique. When she virtually aced the virtuosic "Bell Song," the audience nearly stopped the performance with its prolonged applause. But, it was in the more tender moments that Kutan revealed her ability to touch the heart.(Montreal Now February 2007)2004 (mars) - Die Entfuhrung dem serail - Vancouver Opera
It was the women who stole the show. Aline Kutan (Konstanze) negotiated the second act head to head arias, "Traurigkeit ward mir zum Lose" and "Marten aller Arten" with great technical mastery and at the same time a deep sincerity which clearly portrayed both Konstanze's unhappiness and her strength of character…(REVIEW VANCOUVER.ORG - Elizabeth Paterson, March 2004)
2004 (june - Die Zauberflöte - Opéra de Paris
On peut encore citer la très belle Reine de la Nuit d'Aline Kutan, à la voix très corsée et aux suraigus éclatants (Juliette BUCH Forum Opera June 2004)
2004 (juin) - Les Rois (Philippe Fenelon) - Grand Théâtre de Bordeaux Se jouant d'une écriture ô combien périlleuse en virevoltant dans l'évidence d'aigus fulgurants, Aline Kutan est une géniale vache luisante hystérique (Anaclase, Bertrand Bolognesi, juin 2004) 2004 (november) - Montreal Opera - Ariadne auf Naxos
Le chant n'est pas en reste. La véritable pyrotechnie, c'est Aline Kutan qui nous la donne. Sa Zerbinette est tout bonnement époustouflante de voix et de jeu. Quelle justesse de ton. Quelle étonnante projection pour une chanteuse dont la voix n'est pas très puissante, mais qu'on entend aisément dans ce grand amphithéâtre. Elle possède une telle maîtrise du contrôle vocal et un naturel si exaltant qu'on se sent comme transporté par la richesse de son incarnation. La métamorphose n'est plus uniquement dans l'opéra, elle est maintenant dans le public qui est là pour l'entendre. Tout y est si finement esquissé et les deux contre-ut de son grand air précédés un peu plus tôt d'un éblouissant contre-mi scintillent comme l'éclat du diamant. Avec le style et les moyens parfaitement adaptés au rôle, Aline Kutan pourrait bien devenir la Zerbinette que certaines grandes maisons attendent. (Forum Opera - Réal Boucher- Novembre 2004)
Aline Kutan éblouit en Zerbinette, tour à tour fragile et mutine, et dans son cas acrobaties vocales s'agencent avec contorsions corporelles de façon surprenante (Concerto net - Renaud Loranger - novembre 2004) 2002 (octobre) - Lakmé - Michigan Opera
Michigan Opera Theatre's welcome production of Lakmé was announced as a vehicle for French-repertory specialist Sumi Jo, singing her first-ever performances of the title role. When she withdrew two weeks before rehearsals began, opportunity fell squarely onto the shoulders of Aline Kutan, the Canadian soprano scheduled foe the alternate cast, who gamely undertook six performances of this technically difficult, stylistically elusive role over a nine-day stretch. It was a risky but triumphant move. Kutan had distinguished herself in the second cast of Anoush at MOT last fall, and it was good to re-encounter her in a role that gave greater leeway to her very substantial gifts: a lovely, coolly throbbing, silvery timbre; impressive technical command; a sure sense of style; and a winning, sympathetic stage presence. Her Bell Song dazzled sufficiently, but never without a sense of its purpose in the drama, and when, in the last act, she ingested the fatal datura, her last phrases had the lyrically scented evanescence of a delicate perfume wafted on the gentlest of breezes.(Opera Canada Magazine, Patrick Dillon, automne 2002)
2000 (february)- Ariadne auf Naxos - San Carlo di Napoli
"La Zerbinetta di Aline Kutan ha tenuto testa a una parte micidiale, ed è stata la più applaudita della serata." (La Repubblica, Sandro Compagnone, 24/02/2000)
Translation: [The Zerbinetta of Aline Kutan held-up to a to the test of a deadly part and was the most applauded of the evening.]"…e Aline Kutan, come Zerbinetta, questa per la cristallina purezza del suo belcanto." (Il Mattino, Giovanni Carli Ballola, 24/02/2000) Translation: [.and Kutan, as Zerbinetta, for the crystalline purity of her belcanto]"Eccelenti anche le altre interpreti femminili: Aline Kutan, una Zerbinetta che ha meritato gli applausi per il colore nella voce e un virtuosismo usato con intelligenza." (Avvenire, Virgilio Celletti, 23/02/2000) Translation: [Excellent also the other female singers: Aline Kutan, a Zerbinetta who merited the applauses for the color of her voice and a virtuosity used intelligently] Repertoire
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