Fellow Leni-Geissler-Stiftung (2010)

Participant • Wilhelm Stenhammar Competition, Norrköping, Sweden (2012)

Semifinalist Anneliese Rothenberger Competition (2009)

Finalist • Armin-Knab-Wettbewerb • Musikalische Akademie Würzburg (2007)

de.schott-music.com/wiederentdeckt-triple-sec… (2015)

zafraanensemble.com/news/akademie-musiktheate… (2014)

www.mainpost.de/ueberregional/kulturwelt/kult… (2008)

www.nordbayern.de/region/schwabach/grosser-be… (2008)

Ricarda Gross-Khachaturian, German born Italian mezzo-soprano and Zwischenfach-Singer made further steps in the 2019/20 season regarding the Belcanto and Wagner Fach. While preparing her Debut as Bellinis Adalgisa, she was reprising the role of Siegrune in Wagners Walküre and gave her debut as Second Norne in Wagners Götterdämmerung and Wellgunde in Wagners Rheingold with Berlin Wagner Gruppe. Dispite her passion for opera, Ricarda is dedicating herself to the Lied and delighted to prepare a series of recitals including songs of Rachmaninow, Sibelius, Stenhammar and Tchaikovsky with her georgian Lied-Duo partner Tamari Okroashvili.

Ricarda was expanding her repertoire with the legendary opera singer Grace Bumbry. As Ricarda has a very special and colorful voice which is able to go steps further outside the classic mezzo-soprano repertoire, she was thrilled by this extraordinary opportunity to collaborate with such an noble and inspiring personality.

In 2015 Ricarda gave her successful Debut at Konzerthaus Berlin. In cooperation with Komische Oper Berlin she created Die Unbekannte in Marc Blitzsteins first european performance of "Triple-Sec" (Direction: Tobias Ribitzki) as part of the Festival Mythos Berlin.

At Bremen State Opera Ricarda performed the role of Zippy in Oliver Knussen’s "Where the Wild Things Are" (Direction: John Fulljames) with which she jumped in successfully also at Badisches Staatstheater Karlsruhe. Further she was engaged in Bremen for Annina/Flora in "La Traviata" (Direction: Benedikt von Peter) and continued to work with John Fulljames in his production of Martinu’s "Juliette" performing the role of the 2.Monsieur and the Young Sailor.

Besides being a specialist for the romantic to postmodern opera repertoire, Ricarda is also frequently required for first performances of contemporary Lied. 2014 she created the first performance of Roger Matscheiziks lieder cycle for soprano and orchestra "vorLetzte Lieder" and gave her Debut at Oper Frankfurt creating Saskia Bladts Lied "eingebrannt" (Direction: Tobias Heyder) for the ceremony of "Akademie Musiktheater heute" / Deutsche Bank Foundation together with the Zafraan Ensemble Berlin.

Ricarda, born in Stuttgart, got her first singing lessons by Dunja Vezjovic at the University of Music Stuttgart. She studied violin and singing at the Giuseppe Tartini Conservatorium in her italian hometown Trieste and at the University of Music Wuerzburg, where she completed in 2010 with a master degree in opera and concert-singing.

Ricarda gathered first stage experience at the University Opera Studio in Wuerzburg performing roles like Bizet’s Carmen, Suora infermiera in Puccini’s "Suor Angelica", Newspaper Seller in Poulenc’s "Les mamelles de Tirésias" and Juno in Purcell’s "The Fairy Queen". In Menotti’s "The Medium" she appeared in the main role as Baba/Madame Flora and she sang Baba The Turk in Stravinsky’s "The Rakes Progress". Even while her studies she was invited to sing at Hannover State Opera in Nono’s "Al gran sole" (Direction: Peter Konwitschny), at Freiburg Opera in Penderecki’s "The Devils of Loudun" (Direction: Marcus Lobbes) and in Ligetis "Le Grand Macabre" (Direction: Calixto Bieito).

Ricarda attended master classes with Rainer Altdorfer, Airi Tokola, Krisztina Laki, Brigitte Eisenfeld, Henriette Meyer-Ravenstein, Grace Bumbry, KS Els Bolkestein and continues to receive important impulses from her husband and singer coach Ara Khachaturian.

She was semi-finalist in the Anneliese Rothenberger Competition 2009, fellow of the Leni-Geissler Foundation and invited to the Wilhelm Stenhammar Competition in Norrkoping, Sweden. Kerstin Meyer named her interpretation of the Brahms song "Immer leiser wird mein Schlummer" as one of the best she had heard since years of a young singer.

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