Lusine Zakaryan (Armenian: Լուսինե Զաքարյան), born Svetlana Zakaryan, (June 1, 1937 in Akhaltsikhe, Georgian SSR – December 30, 1992, in Yerevan, Armenia), was an Armenian soprano. She grew up in the Samtskhe-Javakheti region of southern Georgia. In 1952, she moved with her family to Yerevan, where she attended a secondary music school. She entered the Yerevan State Musical Conservatory in 1957 and her singing talent soon became clear.
From 1970 to 1983, Zakaryan was a soloist with the symphony orchestra of Armenian TV and Radio. She also sang in the choir of the Armenian Apostolic Church's Holy See at the Echmiadzin Cathedral, and it is for her magnificent rendition of centuries-old Armenian spiritual hymns that she is now most remembered.
Zakaryan was also known for singing the international opera repertoire as well as Armenian traditional and church music.
Conducted by Nikolaus Harnoncourt. A fantastic concert celebrating the coming of Christmas, recorded live at one of Austria's finest baroque monasteries. Soloists are Christine Schafer, Anna Korondi, Bernarda Fink, Ian Bostridge, Christopher Maltman. With the Concentus Musicus Vienna and the Arnold Schoenberg Choir.
The second section of the cantata is a long vocal section opening with four soloists (soprano, alto, tenor and bass) singing together. Many recordings of this cantata use a choir for this section, but recent recordings have featured a one-voice-per-part strategy here, as does this one. The texture of this is excellent, although the balance between the voices wavers a bit. The tenor, bass and soprano each have ariosos within this section. Tenor Knut Schock enters a bit heavily, but his voice is quite appropriate for the melancholy tone of his section. Bass Bas Ramselarr has a slightly dark, yet clear voice. His section features a delightful accompaniment by the two recorders - in an interesting counterpoint with such a deep voice - and, again, the balance is slightly off, his voice sometimes drowning out the recorders just a bit…
The B Minor Mass is a fine performance by The Sixteen and Harry Christophers, which is subtle and well-sung. The choir, which is fairly large at 26 singers (whereas some recordings in recent years have used much smaller groups) is nevertheless of a size that allows the individual voices to stand out in the choral melange. The instrumentalists also play in perfect balance with the choir - the obbligato instruments fit perfectly with the vocal texture, and the overall sound of the orchestra is excellent.
Here, again, Brilliant Classics has licensed recordings of the passions, masses and other works. The St. Matthew and St. John passions are good recordings by the Brandenburg Consort and the King's College Choir; I find these two passions to be a bit weak, and this is a shame.