 2019 calendar
APRIL 26, 2019
EU Delegation in Armenia
1900+ World Piano Music Concert Series:The 15th Concert
Aram Khachaturian Concert Hall, Yerevan
Jubilee Concert: The 10th Anniversary (2009-2019)
Recital
Program: I.Xenakis, A.Boucourechliev, L.Janáček, L.Berio, K.Stockhausen, M.Čiurlionis, A.Pärt, P.Vasks, H.Holliger, C.Debussy, H.Górecki
MAY 20, 2019
1900+ World Piano Music Concert Series:The 16th Concert
Union of Armenians in Ukraine
Komitas Museum-Institute, Yerevan
Recital: Ukrainian 20th Century and Contemporary Music
Program: M.Lysenko, L.Revutsky, V.Silvestrov, I.Shamo, M.Kolomiiets, B.Sehin, S.Pilyutikov
JUNE 06, 2019
15th Aram Khachaturian International Piano Competition
Opening Ceremony at Khachaturian Concert Hall, Yerevan
Armenian State Symphony Orchestra
Conductor: Sergey Smbatyan
Program: Aram Khachaturian: Piano Concerto
JUNE 23-30, 2019
5th Arno Babajanyan International Piano Competition
Komitas Chamber Music Hall, Yerevan
Jury mamber
June 23: Opening Ceremony
Program: Works by Arno Babajanyan
SEPTEMBER 05, 2019
Armenian State Symphony Orchestra (ASSO)
Aram Khachaturian Concert Hall, Yerevan
Tigran Mansurian International Music Festival
Program: Tigran Mansurian: Fantasia for Piano & Orchestra
Conductor: Sergey Smbatyan
OCTOBER 05, 2019
Boghossian Foundation & SOAR Belgium
Villa Empain, Brussels, BELGIUM
Recital: Another Tale
Program: F.Chopin, C.Debussy, Komitas, H.Dellalian, A.Babadjanian, V.Sharafyan
OCTOBER 18, 2019
Yerevan International Music Festival
Aram Khachaturian Concert Hall, Yerevan
Chamber Music Concert
Anush Nikogosyan, violin
Hayk Melikyan, piano
Program: R.Schummann, A.Schnittke, Komitas
OCTOBER 20, 2019
The Aurora Tribute Concert
Aram Khachaturian Concert Hall, Yerevan
The Mariinsky Orchestra
Conductor: Valery Gergiev
Program: Aram Khachaturian: Piano Concerto |
...Hayk Melikyan...has power and agility to spare, with plenty of attention to inner voicings. He is never at a loss for style or direction in any of this music, which is pretty impressive when you consider that it really represents two very different styles. He is always flexible and persuasively colorful in the nationalistic material, careful to articulate every line and give it its proper weight in the rest. And any musician who can differentiate between the two voices in the latter, manic half of the Poem, that often sound like a single line chasing its own tail, deserves recognition for his insight and technique.
Barry Brenesal
Fanfare Magazine
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