LAUREL SEMERDJIAN

MOZART’S REQUIEM- SYMPHONY TACOMA- 2022

“But the breathtaking moments came with mezzo Laurel Semerdjian, whose gutsy, lower register added urgency to every word.”

LE TRAGÉDIE DE CARMEN- FLORENTINE OPERA-2020

Review of opening night digital performance due to Covid-19

“A rising mezzo-soprano of Armenian heritage, Laurel Semerdjian, has the flashing black eyes and ferocious intensity of Carmen, plus as far as I could tell a voice of seduction and rage that could not be confined behind a computer screen.  The acting aura was so strong I longed to be seeing her in person.” - Dominic Paul Noth, Urban Milwaukee, 3/19/2020

ALÌ BABÀ- OPERA SOUTHWEST- 2019

“Laurel Semerdjian was a conniving Morgiana who fascinated onlookers with her hijinks and comic timing. She sang with excellent diction and strong tones.”  -  Maria Nockin, Opera Today 10/26/2019

“I was sorry that Laurel Semerdjian, our Morgiana (Ali’s slave) did not have a bigger role because she has a luscious mezzo and was an audience favorite.”  -  Charles, Jernigan, The Itinerant Melomane, 10/29/2019

“The role of Morgiana, Alì Babà’s clever servant, is underdeveloped, which was a shame, as mezzo-soprano Laurel Semerdjian has the voice and stage savvy to do more that Bottesini gave her.”  -  Mark Tiarks, Pasatiempo 10/20/2019

MADAMA BUTTERFLY- PITTSBURGH OPERA- 2018

The roles of Suzuki and Sharpless took on greater importance than is the norm, and Laurel Semerdjian and Michael Mayes turned in top-notch performances. Semerdjian’s Suzuki was sensitively acted and very well sung, her lovely mezzo-soprano blending perfectly with Kuznetsova’s voice in the Flower Duet. - Seen and Heard International- Rick Perdian- 10/12/2018

Laurel Semerdjian as Suzuki — Cio-Cio-San’s maid — immediately stood out as one of the strongest voices, a forceful, plush mezzo bringing emotional heft to the production. - Pittsburgh Post Gazette- Jeremy Reynolds- 8/7/2018

Mezzo-soprano Laurel Semerdjian was all that was expected and more in the role of Suzuki. Her deep, velvety voice was in fine form, and her acting of the role was enchanting. Each time this young artist is heard here, she manages to top her previous performances, and yet gives the impression that she’s only just begun to develop what will come to be known as one of the best voices heard on the operatic stage of the early 21st century. Her voice blended with Ms. Kuznetsova’s in the well-known “Flower Duet” quite exquisitely. - Pittsburgh in the Round- George Parous- 8/7/2018

RUSALKA- RESONANCE WORKS- 2018

Laurel Semerdjian (Ježibaba) was outstanding in her truly nightmarish conception of the witch. A wizard of a makeup designer transformed her into a harrowing sight; wild-eyed and disheveled, garbed in layers of rags, she crouched and slithered about the stage, acting the part with animalistic movements and facial expressions that made her a very believable denizen of some formidably deep, dark netherworld. Her voice is perfectly suited to the demands of the music, with ringing top tones eclipsed only by cavernous, rock-solid lows. She injected a trace of wickedly sly humor into her brief scene with the Gamekeeper and his nephew in the third act, and her spitefully hearty laughter at Rusalka’s plight was a demonic thrill. - Pittsburgh in the Round- George Parous- 5/12/2018

MADAMA BUTTERFLY- SYRACUSE OPERA- 2018

Laurel Semerdjian has a honey-smooth mezzo-soprano voice and a stage presence that translate into a stunning performance of Suzuki. - syracuse.com- Linda Loomis- 4/14/2018

MADAMA BUTTERFLY- SARASOTA OPERA- 2017

Her handmaiden, Suzuki, was sung by Laurel Semerdjian, whose gorgeous voice, almost a contralto rather than mezzo, was clear, clean and well produced. It was her offstage sobbing when she realized Butterly was about to kill herself that resonated most with me in that climactic scene. It was heartbreaking. - Your Observer Sarasota- June LeBell- 2/12/2017

Suzuki, Cio-Cio-San’s servant was tenderly portrayed by Laurel Semerdjian whose warm ingratiating mezzo made the flower duet something special and for giving new life to her phrase “Povera Butterfly”. One could really sympathize with her conflict in trying to protect Butterfly from her misconceptions. In the end, the sand castle came down with a tsunami Suzuki could not prevent. - Brooklyn Discovery- Nino Pantano- 3/30/2017

THE RAKE'S PROGRESS- PITTSBURGH OPERA- 2016

Laurel Semerdjian and her velvety mezzo-soprano voice were superb as Mother Goose, the madam at the brothel Rakewell enjoys in the first scene of Act 2. The production does not shy away from sexuality when Mother Goose decides to have Rakewell for herself. - Pittsburgh Tribune- Mark Kanny- 5/1/2016

In the briefer but still juicy role of Mother Goose, younger mezzo Laurel Semerdjian, a resident artist, sang strongly and played the madam of the brothel with a spirit of fun. - Pittsburgh Post Gazette- Robert Croan- 5/1/2016

27- PITTSBURGH OPERA- 2016

Laurel Semerdjian scored a triumph as Gertrude Stein. Mezzo-sopranos rarely get to dominate an opera, but she made the most of Gordon's nuanced portrait of the central character. Semerdjian's velvety lower register was matched in tonal appeal and strength throughout her role's wide range. - Pittsburgh Tribune- Mark Kanny- 2/21/2016

Still, as Gertrude, Laurel Semerdjian nearly steals the show with her rich, warm mezzo-soprano voice. - Pittsburgh City Paper- Bill O'Driscoll- 2/23/2016

Laurel Semerdjian, of course, dominated as Gertrude Stein.  Her rich mezzo-soprano filled the hall with tones that were dark colored velvet in quality.  The role is taxing - vocally and dramatically, and her skills in both departments carried her through the evening almost flawlessly.  She was a charming picture as well, and will no doubt bring even more to the role with each repetition.  It was a treat to see and hear this gifted young woman in a starring part.  She wore it very well, indeed. - Pittsburgh in the Round- George Parous- 2/21/2016

NABUCCO- PITTSBURGH OPERA- 2015

Laurel Semerdjian was excellent as Fenena, Nabucco's other daughter, who, like Abigaille, is in love with the Hebrew prince Ismaele. As a result, the first-act trio between the two women and Ismaele was uncommonly well balanced. - Pittsburgh Tribune- Mark Kanny- 10/11/2015

SUMEIDA'S SONG- PITTSBURGH OPERA- 2015

Laurel Semerdjian embodied the role of Asakir. With a flexible vocal texture, ability to match bent pitches with the orchestra and unity of music and drama, the mezzo-soprano delivered a revealing, complex depiction of the character. She dispatched guttural low notes like the babblings of a disturbed woman haunted by 17-year-old nightmares. A gentle vibrato accompanied the stirring final regret, intoned merely as “My son.” - Pittsburgh Post Gazette- Elizabeth Bloom- 02/25/2015

Mezzo-soprano Laurel Semerdjian's portrayal of Asakir was a dramatic and musical tour de force. For nearly all of the opera's one-hour duration, she was potently malevolent. Semerdjian was particularly impressive when Asakir becomes unhinged, a moment when the libretto has her repeat key lines. Her dramatic gestures, including seemingly involuntary twitching, were all the more affecting for being finely graded. By the end of the opera, when she softly sings “My son,” we feel surprising sympathy for Asakir...Semerdjian was also impressive in handling the musical challenges posed by the musical language Fairouz employs.- Pittsburgh Tribune- Mark Kanny- 02/22/2015

RODELINDA- PITTSBURGH OPERA- 2015

Bertarido's sister, Eduige, who rejects Grimoaldo's offer of marriage before he turns to her sister-in-law, was ably performed by mezzo-soprano Laurel Semerdjian. Her voice has appealing weight, intensity and flexibility. - Pittsburgh Tribune- Mark Kanny- 01/25/2015

Mezzo-soprano Laurel Semerdjian, as Eduige, Bertarido's sister, betrothed to Grimoaldo, more than surpassed the expectations her previous appearances in the small role of Emilia in Otello aroused in November. She, like Muhammad, possesses a fine voice and stage appearance, and it is quite easy to imagine that a distinguished career for her is unfolding before our eyes. - The Pittsburgh Stage Online Magazine- George B. Parous- 01/25/2015

As Eduige, the sister of the usurped king, mezzo Laurel Semerdjian is formidable as both an actor and singer and radiant in a lavish green dress created by costumer Karen Anselm. - Pittsburgh Owl Scribe- David Zuchowsk