Music has shaped every chapter of lifeguard-turned-classical singer Aram Khatchadourian's life. Born in Aleppo, Syria, he discovered his passion for music as a child, first through piano and later through classical singing. His talent earned him international recognition early on, before his journey eventually led him to Armenia.
 

Today, Aram is a baritone, a graduate of the Yerevan Komitas State Conservatory, and a member of the Armenian State National Academic Choir named after Hovhannes Chekijian. From performing the role of King Afrasyab in Rustam and Sohrab to bringing Figaro to life on stage, he continues to build a career while remaining deeply connected to Armenian musical heritage.
 

In my interview with Aram, he went into detail on the lessons that shaped him, the realities of pursuing opera as a profession, the influence of swimming on his voice, and why he believes introducing even one person to classical music is a success worth striving for.
 

1. You were born in Aleppo and later repatriated to Armenia. When you look back now, what part of that journey shaped you the most as a person and as an artist?
 

In Aleppo, my love for music began at a very young age. My parents noticed it almost immediately. Whenever they bought gifts for the children, I would always choose toy musical instruments and spend hours trying to figure out how to play them.
 

I also remember watching cartoons like Tom and Jerry. I was fascinated by the music and would try to recreate the melodies on my little instruments. That was when my parents realized music wasn't just a passing interest. They saw that I had a natural ear for it.
 

As I started singing in choirs, every choir director I worked with encouraged me to take music seriously. They kept telling me that I had a good voice and that I should pursue it professionally.
 

I first enrolled in the Arab State University in Aleppo, where I studied piano. I dedicated myself to it, and after three years I had made significant progress.
 

In 2011, I participated in the International Solhi al-Wadi Piano Competition in Damascus. Musicians from different countries took part, and it was one of the strongest editions the competition ever held. Sadly, after the war in Syria began, the competition gradually disappeared; but I was fortunate to experience it at its peak.
 

Winning first place was a turning point for me.
 

As part of the prize, I traveled to Warsaw, Poland, where I had the chance to visit Frédéric Chopin's house. Coincidentally, the International Chopin Piano Competition was taking place at the same time, and I was invited to attend as a guest.
 

Alongside piano, I was also developing as a vocalist. I sang in several choirs while continuing to train independently.
 

One of my teachers was Shahe Kechichian, with whom I now have the privilege of performing here in Armenia as a member of the Armenian State National Academic Choir named after Hovhannes Chekijian.
 

Later, I continued my vocal studies with the maestro Palig Kalamkerian, and both of them encouraged me to move to Armenia and continue pursuing vocal professionally.
 

2. Your years at the Yerevan Komitas State Conservatory must have shaped more than just your voice. What did that experience teach you about discipline, confidence, and yourself as an artist?
 

At the conservatory, I've had the privilege of studying under Honoured Artist Arnold Kocharyan. One of the most valuable lessons I learned from him was that no matter how good your teacher is, your progress ultimately depends on your own discipline and willingness to work.
 

You have to trust what your teachers tell you, but you also have to understand your own instrument. If a particular technique doesn't work for you, you can't simply give up. You have to keep searching, experimenting, and practising until you find what does work.
 

That's especially true for vocalists, because every voice is unique. My instrument isn't exactly the same as another baritone's. Our voices, our bodies, and even our physical build are different, so every singer has to discover what brings out the best in their own voice.
 

The conservatory also taught me discipline in a much deeper way. In Syria, I was constantly balancing different commitments. I went to school, studied music, and trained as a swimmer, so I was always dividing my time between several passions.
 

Eventually, though, life reaches a point where it asks you to make a choice. If you truly want to move forward in something, you have to devote yourself to it completely and be willing to immerse yourself in it.
 

3. Who were your biggest musical inspirations growing up, and have they changed since you began performing professionally?
 

My musical tastes have definitely evolved over the years.
 

When I was younger, I was fascinated by tenor voices, and one of my favorite singers was Luciano Pavarotti.
 

As I grew older and my voice matured, I realized that I was actually a baritone. That's when I began listening to Dmitri Hvorostovsky, one of the greatest baritones of our time. What drew me to him was the emotion and sincerity he brought to every performance. I felt that we shared a similar approach to singing, particularly because he also began his career as a lyric baritone.
 

The more I learned about singing, vocal technique, and the art of opera, the more my perspective changed. I started discovering new performers and appreciating different interpretations, and I gradually became a fan of many remarkable singers.
 

I also discovered great baritones such as Ettore Bastianini and Nicolae Herlea. Listening to artists like them made me realize just how many extraordinary vocalists there are, and each of them has influenced my own artistic journey in different ways.
 

4. In 2025, you performed as King Afrasyab in Loris Tcheknavorian's Rustam and Sohrab, and you have also performed as Figaro in Rossini's The Barber of Seville. What do these very different roles reveal about you as a performer?
 

You touched on an interesting point about my personality. I do think there are different sides to me, and a lot of people have noticed that over the years.
 

When it comes to Rustam and Sohrab, I'll be completely honest. More than anything, I was looking for an opportunity to step onto the opera stage. For years, I had been working towards the chance to perform in an opera, to sing with a full orchestra under the direction of a conductor.
 

If I said the role of Afrasyab was perfectly suited to my voice, that wouldn't be entirely true. The role is better suited to a bass-baritone, whereas I'm a lyric baritone.
 

Even so, I managed to make it work.

Looking back at the recordings, and after hearing feedback from people who attended the performances, I'm happy to say that they felt I delivered the role well.
 

Throughout my journey, I've encountered plenty of obstacles and challenges, and they inevitably affect the pace of your career. For me, this opera was an opportunity that came at exactly the right moment, and I knew I had to seize it.
 

That said, Afrasyab wasn't really my role. It didn't fully suit my voice, nor did I feel a strong personal connection with the character.
 

Figaro, on the other hand, was completely different. That role felt like a natural fit. It suited both my voice and my personality, and I connected with the character much more deeply than I did with Afrasyab.
 

I hope that, in the future, I'll have the opportunity to perform more bel canto repertoire on even bigger stages.
 

In many ways, Rustam and Sohrab became my gateway into the world of opera. It introduced me to audiences and industry professionals, and it opened the door to opportunities in productions such as La Traviata and, hopefully soon, Pagliacci.
 

5. You are also a professional swimmer, trainer, and lifeguard. Singing and swimming both depend on breath, rhythm, stamina, and diaphragm control. Has your life in the water influenced your voice on stage, or the other way around?
 

I'd actually say that swimming has influenced my singing more than singing has influenced my swimming, and in both positive and negative ways.
 

Starting with the positives, I believe swimming is one of the best forms of exercise because it engages every muscle in your body. It's also incredibly beneficial for your mental health. Whenever I was feeling stressed, anxious, or simply down, swimming always helped me clear my mind and regain my energy.
 

Although I no longer compete professionally, I still swim regularly. It helps me stay in good physical condition and keeps both my body and mind healthy. Every time I get out of the pool, I feel completely refreshed.
 

Unfortunately, there was also a downside.
 

When the war broke out in Syria, pool maintenance deteriorated significantly. To compensate, they started using excessive amounts of chlorine to disinfect the water.
 

While swimming itself is excellent for the lungs, prolonged exposure to chlorine fumes can be harmful, especially for singers. I genuinely believe it affected both my lungs and my vocal cords, and I felt the impact for many years.
 

Thankfully, those effects have faded over time, and today I feel much better. Even so, I'm still careful about where I swim. If I can immediately smell a strong chlorine odour when I walk into a pool, I usually avoid it.
 

6. If we took you out of the opera house for one night and put you on a completely different stage, what kind of music would you want to perform?
 

I actually sing far more than just opera and chamber music, although I've only recently started exploring the chamber repertoire.
 

I also enjoy performing estrada music and pop classics. There is a huge repertoire of songs that I can sing.
 

At the same time, as an Armenian, I never want to lose touch with our musical heritage. Performing the works of composers like Komitas is incredibly meaningful to me. We have been blessed with so many brilliant composers throughout our history, and it's always an honor to bring their music to life on stage.
 

Our culture and musical heritage are among the things that truly distinguish us in this region. I believe it's important not only to preserve that legacy but also to represent it proudly wherever we perform.
 

7. A common stereotype with classical musicians is that they tend to be very limited to their genre and don't experiment with alternative types of music. How do you feel about this?
 

I don't look down on any genre of music, and I don't believe there's such a thing as "better" or "worse" music. Every genre, even Rabiz, has its own place, its own purpose, and its own audience.
 

Some people are very critical of certain styles, but I've never shared that attitude. I appreciate different kinds of music for what they are.
 

For me, music is food for the soul.
 

I even have a habit of asking people what kind of music they listen to. Their answer often gives me an interesting glimpse into their personality.
 

As for performing outside the classical repertoire, sometimes that's simply a way of reaching a wider audience, and I don't see anything wrong with that.
 

What I do disagree with is the attitude some classical musicians have when they place themselves above every other genre. I don't believe classical music makes anyone superior.
 

As a classical singer, I see my role differently. My goal is to introduce people to this world. If I can inspire even one person to discover classical music or attend their first opera, I consider that a success.
 

To this day, many people, especially those in Syria, are surprised when I tell them that I'm a professional singer who earns a living through classical music. To many, music is simply a hobby, not a profession.
 

That's why I enjoy talking about my work. I want people to realise that it is possible to build a career as a classical musician, whether that's performing with an orchestra, singing in an opera, or appearing in concerts around the world.
 

I also love introducing people to opera because I believe it is one of the most complete art forms ever created. It brings together music, theatre, orchestral performance, dance, costume design, and visual storytelling under one roof. That's what makes it so powerful and so unique.


 

8. To wrap things up, what advice would you have for someone out there who's thinking about going down the same path as yourself?
 

My advice would be simple: only pursue this path if your heart is truly in it.
 

Opera is an incredibly competitive profession, and it's very easy to become discouraged. I know that from personal experience. When I first entered this world, I looked at it through rose-colored glasses. I imagined it as an elegant, almost aristocratic profession, but I quickly realized that it's just as demanding and competitive as any other career.
 

There are many challenges along the way. Sometimes your voice type simply isn't what's most in demand at a particular moment. Sometimes you'll face intense competition, and unfortunately, not all of it is healthy. There can also be politics behind the scenes, and that's something every young artist has to be prepared for.
 

That's why I believe you should only choose this profession if you're genuinely committed to it and truly believe you have what it takes to persevere.
 

Unlike many other careers, success in opera doesn't happen overnight. It's built drop by drop, over many years. It takes patience to establish yourself, earn recognition, and eventually be trusted with major roles.
 

Above all, you have to love what you do. If that passion is there, commit to it wholeheartedly, keep working, and don't let obstacles convince you to give up. They're simply part of the journey.

Interview by Nareg Abedi Masihi