“Singing her first Floria Tosca in Brisbane, Arax Mansourian invested the role with a
deal of class befitting the diva. Her soprano was strong and true, full of rich dramatic
shadings, reliable throughout the range, and her gestures were clearly detailed.”
OPERA-OPERA, JUL 2003
Arax Mansourian - With her beautiful clear voice she comes into her own in the Act 1
duet with Cavaradossi “Non la sospiri”, while her Act 2 solo “Vissi d’arte” is a real hit.
John Henningham OPERA QUEENSLAND, MAY 2003
“Her mastery of stage and the dramatic intensity of her acting, involuntarily remind me
of Greta Garbo” Mandag, Stockholm
“Arax was divine in Ekmlian’s ‘Patarak’… impressive and magnificent” Garzu, Paris
“Arax Mansourian’s Liù is tremulously sung and deeply affecting,the only
source of warmth” Deborah Jones The Australian, Sep 1999
"Her generous-voiced Katya, tragedy in every fibre of her being, was received
with lusty cheers” The Australian
Katya Kabanova-Armenian soprano Arax Mansourian in the title role, she is magnificent,
expressing Katya’s emotional rollercoaster with immense feeling and voice control.
Barry Quigley MOSMAN DAILY, FEB 2002
Katya Kabanova / Armenian soprano Arax Manourian was outstanding. One loved with her, cried with her and hated with her as if she were one of
the family – setting her audience a difficult challenge which she met with ease. Mansourian has an appealing voice with a good range.
Graham Harris Northern Courier
Cavalleria Rusticana / Arax Mansourian gave as powerful a reading as I’ve experienced of Santuzza. The opening phrases of appeal to Turiddu’s mother
were restrained – as you’d expect with half the village looking on. But by the time she had worked her way through the Easter Hymn and into the
marvellously crafted tension of Voi lo sapete, the soprano had reached a very satisfying blend of tension and burnished tone color. This was the sort of
interpretation you often imagine but rarely hear – one that rouses sympathy at every turn and convinces you, when reality bursts upon her, that
the mala Pasqua curse comes from the core of her being, not just as a spiteful final conversational sally.
OPERA-OPERA, APR 2002
In "Cavalleria Rusticana", Arax Mansourian handled the abrupt transitions from high soprano to an almost fruity mezzo with a clear dramatic force.
If she lacked the despairing violence of the role, she created a presence of suffering purity." John Slavin, The Age March 2002
Turandot (Puccini) / Mansourian depicted a fittingly vulnerable slave-girl. Her voice carried clearly and the singer knew where to pull back her
volume and where to put the stresses to accentuate the role’s vulnerability. -
OPERA AUSTRALASIA, MAY 1995