Mezzo-Soprano
With her rare and unique voice, American mezzo-soprano Aria Minasian has rich and versatile performance experience in a vast array of repertoire and roles. Winning praise for her portrayal of contemporary new works, such as the title role in Kevin Puts’ Elizabeth Cree “Minasian's portrayal was truly spectacular—her Elizabeth was deep and seductive, precociously balancing beauty and terror. Her luxurious contralto voice pulled the audience into Elizabeth’s madness and gripped until we were left begging for more”, as well as for beloved operatic classics like Zita in Puccini’s Gianni Schicchi “The avaricious Zita dazzled the audience with her hearty contralto voice—a rare gift to hear onstage”, and Donna Elvira in Mozart’s Don Giovanni, for which she was hailed as “[the] favorite all-around performance from the aptly-named Aria Minasian for her ability to embody both the humor and the darker, more painful emotions of the story.” (Arts at Michigan).
The 2025-2026 season holds exciting role and house debuts for Ms. Minasian, starting the season in a concert performance as Vitellia in Mozart's La Clemenza di Tito, the Alto Soloist in Martines' Dixit Dominus and Soprano II Soloist in Haydn's Missa brevis under the baton of Maestra Erin Freeman with the City Choir of Washington in D.C. Aria is competing as a semi-finalist for Palm Springs Opera Guild's International Vocal Competition and a District Qualifier for the Metropolitan Opera's Laffont Competition. This spring Aria will be debuting as Der Komponist in Richard Strauss' Ariadne auf Naxos with Pacific Northwest Opera, conducted by Maestro Jonathan Khuner and directed by Mitchell Kahn.
During the 2024-2025 season Ms. Minasian was a Herndon Foundation Emerging Artist with Virginia Opera for their 50th Anniversary Season, covering Donna Elvira and Zerlina in Mozart’s Don Giovanni, performing Mercédès in Bizet’s Carmen, covering Dorabella in Mozart’s Cosi fan tutte, and performing Clerk #1 and covering Lola Loving in the world premiere of Damien Geter’s Loving v. Virginia, directed by Denyce Graves and conducted by Maestro Adam Turner. Ms. Minasian then joyfully returned to Wolf Trap Opera as a Studio Artist to perform as a Bridesmaid and in the chorus of Mozart's Le nozze di Figaro, conducted by Maestra Emily Senturia and directed by E. Loren Meeker, cover Blanche de la Force in Poulenc’s Dialogues des Carmélites, conducted by Maestro Geoffrey McDonald and directed by Katherine M. Carter, perform scenes in the Studio Spotlight Concert as Delia in Rossini's Il Viaggio a Reims and April in Sondheim's Company, directed by Claire Choquette, and closed the season covering Carmen in Bizet’s Carmen, conducted by Maestro José Luis Gomez and directed by John de los Santos.
A charismatic and willing musician, Ms. Minasian has collaborated and worked with several composers and librettists on their works, including Pulitzer Prize-Winning composer Kevin Puts on his opera Elizabeth Cree (with Aria as the title role in 2024, which received 3rd Prize in the National Opera Association Opera Production), Tom Cipullo on his new opera Hobson’s Choice (with Aria as the title role of Maggie Hobson in the 2023 workshop premiere), librettist Virginia Sierra and composer Roberto Sierra on their large chamber ensemble piece I am Carmen Miranda (under the baton of Maestro Jayce Ogren and the Contemporary Directions Ensemble with Aria as the title role in 2022), James Stephenson on his Symphony No. 2 (with Aria as the soloist in 2022), and Grammy Award-Winning composer Christopher Theofanidis on the world premiere of his work Door Out of the Fire (with Aria performing as the late Justice Ruth Bader Ginsberg in 2021). Ms. Minasian’s ability to be a chameleon onstage both in character and voice type has led to great success, artistry, and a vast knowledge and understanding of repertoire and styles.
Ms. Minasian was honored to be a Studio Artist at Wolf Trap Opera for the summer of 2024, covering Anna 1 in Weill’s Seven Deadly Sins, understudying as Dorabella and performing in the chorus of Mozart’s Così fan tutte, performing in the chorus of La bohème, and covering Madeleine Audebert in Kevin Puts’ Silent Night, directed by Ryan & Tanya McKinny.
Recent operatic highlights include Orfeo in Gluck’s Orfeo ed Euridice, Olga in Tchaikovsky’s Eugene Onegin, Taller Daughter in Mazzoli’s Proving Up, Forester’s Wife & the Owl in Janáček’s The Cunning Little Vixen (1st Place Winner in the National Opera Association Opera Production Competition), Aunt Lou in Still’s Highway 1, USA, and Madame de la Haltière in Massenet’s Cendrillon with University of Michigan Opera. Additional recent partial roles and opera scenes, many of which Aria hopes to perform fully in her career, include the title role in Cilea’s Adriana Lecouvreur, Adalgisa in Bellini’s Norma, Mimi in Puccini’s La bohème, Charlotte in Massenet’s Werther, Maddalena in Verdi's Rigoletto, Nedda in Leoncavallo’s Pagliacci, Idamante in Mozart’s Idomeneo, 2nd Lady in Mozart’s Die Zauberflöte, and Edka in Heggie’s Two Remain. Additional training includes being a Principal & Studio Artist with Utah Valley Operafest (formerly UVAA), an Artist for Russian Opera Workshop, and a Vocal Fellow in Thomas Hampson’s American Song Initiative.
Earning the Presidential Scholarship from Lawrence University, Aria graduated with her Bachelor of Music in Vocal Performance, cum laude, and went on to receive the Full Merit Scholarship from the University of Michigan for both her Master of Music and Specialist of Music in Vocal Performance graduate degrees, working with mezzo-soprano Freda Herseth. Starting her studies as a coloratura soprano, Aria then switched to mezzo-soprano and eventually contralto repertoire before settling into mezzo-soprano under the tutelage of soprano Joanne Bozeman. During her time at Lawrence, Aria performed the demanding role of The Celebrant in Bernstein's Mass, a role written for and traditionally sung by baritones or tenors, where she was double cast with a baritone. This fully immersive production, directed by Copeland Woodruff and conducted by Maestro Andy Mast, collaborated with deaf actor Robert Schleifer, with all performers signing in American Sign Language while singing. Following the success of the production, Mass was awarded 3rd Place in the National Opera Association - Best Opera Production and 3rd Prize in The American Prize - Opera Production (2020).
In the competition circuit, Aria has been a Washington District Winner and Western Canada District Encouragement Award Winner in the Metropolitan Opera’s Laffont Competition (2019 & 2020), a Semi-Finalist in the Jensen Foundation Competition (2025) and Palm Springs Opera Guild International Vocal Competition (2025), a Finalist in Eugene Opera's Vocal Competition (2019), Semi-Finalist in The American Prize in Chamber Music - Professional Division and Teatro Grattacielo's Camerata Bardi International Vocal Competition (2020), the 2nd Prize Winner of Seattle Opera Guild's Singers' Development Awards Competition (2020), 1st Prize Winner of the Friends of Opera Competition (2021), Grand Prize Winner of the Patricia Crump Competition (2023), and the recipient of the prestigious George Shirley Award (2024), amongst additional awards.
Aria recently made house debuts with Pacific Symphony as Giovanna in Verdi's Rigoletto, conducted by Maestro Carl St. Clair and directed by Kathleen Belcher, and with Dexter Community Orchestra as the Alto Soloist in Beethoven's Symphony No. 9 led by Maestro David Schultz. Ms. Minasian can be heard on recordings of An Anthology of African and African Diaspora Songs, recorded in 2021 with collaborative pianist Dr. Sara Chiesa, featured on Thomas Hampson’s Hampsong Foundation and Song of America. The recording project was created by Dr. Louise Toppin, who created the anthology, and led Aria to a passion for uplifting BIPOC composers and their works; since then, Aria has performed in numerous concerts featuring Black composers’ works, such as the Singing Down the Barriers Concert and Workshop (2021 & 2022), and continues to support this powerful and essential music by programming these pieces on recitals and concerts to bring more attention to the beautiful works by these underrepresented composers.
Introduced to the wonder and power of music at a young age, thanks to her grandparents and parents’ love of everything from Yo-Yo Ma to The Beatles, to Bob Marley, Led Zeppelin, Steely Dan, and Etta James, Aria began her musical journey as a classical pianist, training for over a decade and winning awards before finding her passion for opera. Ms. Minasian has an extensive background in vocal pedagogy, receiving her training from Professor Ken Bozeman and Professor Joanne Bozeman in vocal acoustics and pedagogy, and Dr. Karen Leigh-Post in studies on the brain and mind-body relationship, and optimal performance.
Though a typical day for her includes rehearsals, practice sessions, coachings, and the occasional artistic epiphany, when not on stage or studying, Aria loves going for hikes, practicing yoga, spending time with friends, family (including her family's dogs), and is a deeply committed Mariners baseball fan.