Liparit Avetisyan as Alfredo has a stunning voice, I want to somehow box up his velvety vibrato and carry it with me to eliminate moments of despondency.

London-Unattached, Andrew Lohmann, 11.07. 2023

Liparit Avetisyan, Duc de Mantoue au jeu scénique investi, reçoit les applaudissements les plus nourris du public. Son timbre roussi et son émission aisée, tant dans des aigus éclatants que dans des graves poignants n’y est pas pour rien. Son phrasé intelligent, apportant beaucoup de musicalité à son interprétation, non plus. Son vibrato est vif, rapide et fin. Il chante son air de l’acte II les yeux fermés, le buste relevé, très inspiré.

Olyrix , Damien Dutilleul, 27.08.2022

… young Armenian tenor Liparit Avetisyan as Alfredo Germont rightly began with shy reticence, following the line lyrically with a well-controlled light sound and never a hint of barking edge. …he led off Act 2 with a voice of coloured bloom and gentle radiance, with ever more grounded incisiveness and passion as the drama peeled away pretence.

The Sydney Morning Herald , Peter McCallum and Joyce Morga, July 6, 2022

Young Armenian Tenor Liparit Avetisyan in talk after his role debut as Vaudemont in Iolanta, Berlin.

Opera-online.com, 02 of February, 2022

The knight Vaudemont, whose love leads her to this transformation, was embodied by Armenian tenor Liparit Avetisyan with timbre languishing splendidly even in the highest heights, exuding emotional emphasis, and unabashedly making use of what is called “tenor sobs”.

Opera-online, Zenaida des Aubris, 15 January 2022

With Armenian tenor Liparit Avetisyan as Alfredo and Cuban-American soprano Lisette Oropesa as Violetta, we sense at every moment the reckless intensity of the love affair at the heart of this work. His bel canto has a wonderfully easy flow, while she has a gorgeous fullness of tone, and her command of the stage is absolute.

inews.co.uk, Michael Church, 5 November 2021

Lisette Oropesa played Violetta opposite Liparit Avetisyan’s Alfredo, and both were exceptional, in some ways surpassing their own very fine achievements in the Royal Opera’s recent new staging of Rigoletto.
Avetisyan is in many ways similarly fine. Gauchely attractive, he barely conceals his desire for Violetta beneath a veneer of formality in Act I, continuously unsure whether to embrace her or stoop to kiss her hand, his eyes tracking her obsessively throughout. Later, he’s impetuously hotheaded, greeting Violetta’s apparent desertion with angry bitterness. This is another beautiful voice, and as with his Duke in Rigoletto: there’s a poetic quality to the best of his singing that can be utterly beguiling. Un Di Felice is marvellous in its amorous warmth and tenderness.

The Guardian, Tim Ashley, 28 Oct 2021

Liparit Avetisyan gave us a very good performance as Alfredo. The basic timbre of his tenor is very attractive and his interpretation of the role was credible.
bachtrack.com target=”_blank”, David Karlin, 28 October 2021

Liparit Avetisyan’s handsome, vicious Duke collects art as well as women, at one point unveiling Titian’s Venus of Urbino for his guests. […] Though occasionally ill at ease with Mears’s view of the Duke as sadist rather than immoralist, Avetisyan brings real seductive poetry to his music in ways that are beguiling.
The Guardian, Tim Ashley, 14 Sep 2021

Liparit Avetisyan was a stylish Duke, with something of the young Pavarotti about his demeanour and his Italianate tenor. His “La donna è mobile” had swagger, but there was elegance too in “Parmi veder le lagrime” – he’s a bastard, but an aristocratic bastard.
bachtrack.com, Mark Pullinger, 14 September 2021

Liparit Avetisyan as Cassio has the most exquisite youthful heroic tone one could wish for

BBC Music Magazine, Alexandra Wilson, 20 July 2020

Alfredo was another Armenian, tenor Liparit Avetisyan, fresh of voice and ardent of manner. How nice in the brindisi to hear a tenor observe that unlikely marking for a drinking song con grazia, leggerissimo. Again the rapid alternation of forte and pianissimo in “De’ miei bollenti spiriti” brought out the excitability and impulsiveness of Alfredo’s character.
bachtrack.com, Roy Westbrook, 18 December 2019

Making a sensational US debut, the young Armenian Liparit Avetisyan deployed his light, agile tenor with a charm and elegance difficult to square with the cruel ambience he’s cultivated at court.
bachtrack.com, Thomas May, 11 August 2019

As the hedonistic duke, Armenian tenor Liparit Avetisyan also revealed a strong, pleasing voice, whose lyricism and agility were particularly well showcased in his Act 2 arias. He sang the show-stopper “La donna è mobile” with a welcome balance of restraint and flair (albeit with a couple of tiny flickers in the top notes), which was also how Avetisyan interpreted his character dramatically.
bachtrack.com, Patricia Maunder, 13 May 2019

And in Armenian Liparit Avetisyan and South African Pretty Yende we get a pair of lovers whose rocky path to felicity is portrayed with wonderful freshness. […] Avetisyan’s sweet bel canto remains flawless no matter how much he hurls his india-rubber limbs about: I’ve never seen a funnier Nemorino.
Independent, Michael Church, 30 May 2017

Remember the name: Liparit Avetisyan. Well at least try to, because that way you’ll be ahead of the game when he becomes a star. For the Royal Opera’s latest revival of L’elisir d’amore the young Armenian has stepped into shoes vacated last month by the indisposed Rolando Villazón and, in true 42nd Street fashion, he walks off with the show.
For a singer whose bread and butter appears to be romantic tragedy – the tenor’s CV is awash with Bohèmes and Traviatas – Avetisyan’s merry turn as the naïve Nemorino is a delight. The layers of his performance embrace everything from pathos to pratfalls, like a singing Charlie Chaplin in glorious Technicolor. His instrument may be standard in tone and timbre, but the colour with which he used it had me holding my breath. His nakedly truthful delivery of “Una furtiva lagrima”, Donizetti’s best-loved aria, was a tour de force.
WhatsOnStage, Mark Valencia, 28 May 2017

In the end, it was the Armenian tenor singing country bumpkin Nemorino who stole hearts. His appearance here saw Avetisyan replace the originally scheduled Rolando Villazón.
Avetisyan. […] played the lovesick puppy to perfection, doting hopelessly around Adina, clambering the giant haystacks of Laurent Pelly’s production with the eagerness of a mountain goat. His sense of bravado, inspired by Dulcamara’s “love potion”, was very funny and his little jump when Adina finally admits she loves him was completely endearing. Avetisyan’s tenor is a good fit for the role – large enough for bel canto and with a sweet, easy top which made “Una furtiva lagrima” the highlight of the show that it deserves to be.
bachtrack.com, Mark Pullinger, 28 May 2017