Summarize this content to 2000 words in 6 paragraphs in Arabic
\n NEW YORK (AP) \u2014 Asmik Grigorian laughs when she recalls that she had been singing professionally for more than a decade when the International Opera Awards proclaimed her the \u201cbest young female singer\u201d of 2016.\u201cSo for 12 years I was nothing, and then I immediately became the best!\u201d the Lithuanian soprano joked in an interview.Now at the peak of her career and seemingly able to sing just about any role she chooses, from Dvorak\u2019s lyrical \u201cRusalka\u201d to Puccini\u2019s dramatic \u201cTurandot,\u201d Grigorian is about to make her Metropolitan Opera debut in another Puccini classic, \u201cMadame Butterfly.\u201d\u201cMy only regret is not having booked her sooner,\u201d said Met general manager Peter Gelb. \u201cAsmik is an operatic force of nature, one of the greatest and most complete vocal and acting packages in recent operatic history.\u201dGrowing up in Vilnius she had plenty of exposure to opera. Both her parents, tenor Gegam Grigorian and soprano Irena Milkeviciute, were opera singers and both appeared at the Met, where Asmik traveled with them while a young girl.<\/p>\n
When she launched her own career, she took pains not to trade on the family fame.<\/p>\n
\u201cI was pretty successful in that,\u201d Grigorian said, \u201cbecause even now many people say, \u2018Oh you have the same name, you know he was a great tenor,\u2019 and I say \u2018Yeah, I know, he was my father.\u2019\u201dIt took her many years from her 2004 debut in Norway at age 23 as Donna Anna in Mozart\u2019s \u201cDon Giovanni\u201d to achieve the combination of dramatic intensity and seamless vocalism that have opera houses around the world competing for her talents.<\/p>\n
\u201cIn the beginning I always had a reputation as a pure stage animal who is not really 100% able to control my voice,\u201d she said. \u201cIt was true.\u201cI was too young,\u201d she added. \u201cControl demands experience, so of course I failed a thousand, million times and this is an amazing thing to do. I think it\u2019s the biggest sadness of the generation now because we are so visible and people are not allowing themselves to fail anymore, and how can you develop without failing?\u201d<\/p>\n
Eventually the lack of a dependable vocal technique caught up with her. \u201cYou come to the age where you can\u2019t just rely on nature,\u201d she said. \u201cI hurt my voice, I hurt my body, I hurt everything.\u201dBy 2012, she said, \u201cI could not sing anything any more. And I decided, OK I have two choices: I can continue killing myself, or I start from the beginning.\u201dGrigorian worked hard for years to build her technique and knew she had succeeded when a critic said \u201cshe is perfect technically, and it\u2019s so boring because she is not so interesting as an actress.\u201d\u201cThen I thought, now I did it!\u201d Grigorian, 42, said. \u201cBut when you are so focused on technique it\u2019s a bit too cold.\u201d Finding she could trust her voice allowed her to flourish again as a performer \u201cand a different type of magic\u201d started to happen.Triumph after triumph followed. Of her 2018 Salzburg role debut as Salome in the Richard Strauss opera, Financial Times critic Shirley Apthorp raved that \u201chers is a Salome to end all Salomes \u2026 Grigorian\u2019s charisma sweeps it all in her wake.\u201d<\/p>\n
Three years later when she made her debut at the Wagner shrine in Bayreuth, Germany, as Senta in \u201cThe Flying Dutchman,\u201d Joshua Barone in The New York Times called her performance \u201cluxuriously lyrical\u201d and noted she was \u201cmet with a roaring ovation.\u201dAcclaim also greeted her last year when she took on two parts many thought would be too taxing for her voice: Verdi\u2019s Lady Macbeth in Salzburg and Turandot in Vienna.Her fellow singers seem as enthusiastic about her as critics and audiences.\u201cShe is the best partner I\u2019ve ever had on stage. End of discussion,\u201d said tenor Joshua Guerrero, who recently sang opposite her in \u201cMadame Butterfly\u201d at London\u2019s Royal Opera House. He cited in particular \u201cher willingness to remove ego and to put the other person forward when they are singing their part.\u201dAs Butterfly, Guerrero said she brought to the role \u201ca beautiful stillness \u2026 She played it very naively, with a childlike approach.\u201dGrigorian explains: \u201cI like to hear a lyrical sound with very tender colors because she\u2019s a 15-year-old girl.<\/p>\n
\u201cBut at the same time, it\u2019s pretty challenging,\u201d she said, because a singer with too light a voice will struggle to be heard over Puccini\u2019s thick orchestral textures.To avoid a steady diet of heavier roles, Grigorian is diligent about mixing up her repertoire.\u201cI definitely don\u2019t consider myself a dramatic soprano or a Wagnerian soprano,\u201d she said. \u201cIf I sing something dramatic, I put something lyrical in the middle so I keep my flexibility.\u201dThat\u2019s why it comes as only a mild surprise to hear that \u2014 despite misgivings \u2014 one of her new roles for next season in Vienna is the Druid princess heroine of Bellini\u2019s \u201cNorma,\u201d a part that demands the utmost dexterity with its long lyrical lines and rapid ornamentation.\u201cI have no clue. I never did any bel canto,\u201d she said. \u201cI\u2019m very nervous and probably I will be the worst Norma on the planet. But I do that because I need to keep my voice flexible. I want to learn many new things.\u201dGrigorian is at the Met this season for five performances starting Friday, with the last one on May 11 to be shown live in movie theaters. But she\u2019ll be back in future seasons to sing \u201cSalome,\u201d Janacek\u2019s \u201cJenufa\u201d \u2014 and no doubt more.<\/p>\n
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Summarize this content to 2000 words in 6 paragraphs in Arabic NEW YORK (AP) \u2014 Asmik Grigorian laughs when she recalls that she had been singing professionally for more than a decade when the International Opera Awards proclaimed her the \u201cbest young female singer\u201d of 2016.\u201cSo for 12 years I was nothing, and then I<\/p>\n","protected":false},"author":1,"featured_media":26219,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[57],"tags":[],"class_list":{"0":"post-26218","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-international"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/26218","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=26218"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/26218\/revisions"}],"predecessor-version":[{"id":26220,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/26218\/revisions\/26220"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/26219"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=26218"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=26218"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=26218"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}