The Armenian State Symphony Orchestra, under the baton of Sergey Smbatyan, continues to delight Armenian (and international) audiences with innovative programs and internationally acclaimed guest performers and conductors. One of the key figures behind these programs is the vibrant and charismatic Tatev With Wings, who joined the team last year through a three-party invitation from iGorts, the Orchestra, and the Keron Development Foundation. Tatev’s experience is so valuable to Armenia that instead of the usual one-year iGorts contract, she was offered a three-year agreement.
 

Beginnings in Armenia and Leaving for the U.S.
 

Tatev was born in Oktemberyan (now Armavir) into a family of artists. Her youth and early creative years unfolded both in her hometown and in Yerevan, where she eventually moved to live with her older sister. In Yerevan, Tatev completed music school, studied jazz alongside classical music, and won numerous competitions, performed at various international music festivals and collaborated with film directors, of course musicians and dancers all around the world.

“The situation in Armenia felt hopeless at the time, especially for a creative family. Our parents were faced with the challenge of simply making ends meet. We ended up getting a U.S. visa. My mom chose New Jersey instead of California for work reasons. I was 15 when we moved, and for me and my three sisters, it was a traumatic event. We were in a depressed state, knowing almost no one in this new place,” recalls Tatev With Wings.

From Drama to Acceptance
 

The first few years in the U.S. were extremely difficult—especially during adolescence. Tatev begged her parents to send her back to Armenia. Having once been well-known in her homeland, she suddenly found herself unable to be her true self.  But after the initial struggle came acceptance: she took GED tests, got high scores and immediately went after her higher education without graduating high school. She earned her BA in Jazz Studies specializing in performance, piano and vocals in New Jersey and moved to New York City.

“Even before moving to the U.S., my goal had been to go to New York. I’d been to the States before—after winning Do-Re-Mi, I toured. Of course, I liked California. After the collapse of the USSR, the colors and smells left an impression, it was exciting—but it didn’t capture my heart. In my mind, I envisioned New York. It’s unlike any other U.S. city—a place full of opportunity for all kinds of people.”

Searching for a Place under the Sun
 

Unable to stand the monotony of New Jersey, Tatev set out to find her place under the bright sun. For a time, she lived with the Najarian family, became a part of their household, and gave private music lessons to their three children. She also worked at AGBU as the Music Coordinator for the Performing Arts Department at AGBU and led a dynamic, creative life—forming her own band and performing in New York City , all over the U.S. and in Europe.

“New York is a city of 8 million that can still make you feel alone. This is especially true for immigrants—we all suffer from a sense of homelessness. It’s not just about lacking a physical home or being far from your homeland—it’s psychological. You may have a physical home, but the feeling of not belonging stays with you.”

Longing for Armenia & Frequent Returns

“My longing for Armenia is always reflected in my music. The Armenian elements in my compositions are an expression of that. We Armenians need to confront this: there are more of us living abroad than at home. It’s the elephant in the room that we don’t want to acknowledge.”

Throughout her years in the U.S., Tatev regularly returned to Armenia—either for concerts or to visit her father, who returned 12 years ago to the house he built with his own hands.

“He was a successful designer, but the psychological weight of homelessness hits harder for someone accomplished. I visited every two years, both to see him and for concerts. In 2019, I seriously considered moving back. I was invited to work at TUMO, and after the recital, when the kids held my hand, cried, and begged me not to leave, I realized I needed to do this kind of project every year. Our youth is amazing—they’re smarter, kinder, and more grounded than previous generations. After 17 years of teaching in New York, I can say Armenian kids are showing incredible promise. All of this led me to apply for iGorts.”

Symphony Collaboration: iGorts & Keron Foundation
 

Tatev quickly applied to iGorts to work on an educational project in the regions, but when she got a call from Sargis Balbabyan, the Director of the Armenian State Symphony Orchestra, she accepted the position to join the team. I serve as the Head of the Artistic Department and as the Program Coordinator for the Armenian State Symphony Orchestra. While iGorts usually offers one-year contracts—and in special cases, two years with funding from the Hirair and Anna Hovnanian Foundation—Tatev was offered a five-year contract. She requested a shorter term, so it was reduced to three. This became possible thanks to the support of the Keron Development Foundation, whose mission is to attract top-tier professionals from around the world to contribute to Armenia’s development.

"I felt the time had come. Capitalism is losing its grip and it has become very obvious that this system is plundering Mother Earth, us along with Her and is unsustainable. I had no other path or specific plan in the asphalt jungle of NYC so I left the U.S., came to Armenia, and began working with the Orchestra. I’m responsible for the smooth operation and timely completion of our creative team’s tasks which includes work with the programming, video, audio and library teams, connecting with the conductors, soloists and for establishing international connections to realize the artistic aspects of new collaborations. I also create a lot of the music content for our educational programs, Symphonic Das A.  My open personality, my English, social eloquence with a wide range of creatives from different backgrounds and my expertise as a composer, educator, performer and a sound engineer help a lot—people find it hard to say no to me," she laughs."

A Heart’s Desire to Stay
 

Tatev’s professional activity doesn’t end there. With  a grant from the Hovnanian Foundation the ArmSymphony is about to receive a vibraphone and a marimba for the orchestra from Yamaha and Tatev is the one who composed a duet for the instruments to be performed when the grant instruments are delivered to the orchestra in addition to arranging some of the well knows lullabies by the Armenian composers that will be placed in toys made by Baroor Toys in Armenia who have been collaborating with the ArmSymphony for a few years now.  

“There are plans for me to teach Art Management courses at the Yerevan State Theatre and Film Institute and at Komitas State Conservatory, possibly in partnership with iGorts and Keron. We’ll see how long the course will be—it depends on how long I stay. But my heart wants to stay here, in Armenia. I’ve hidden my suitcase in a dark corner of my apartment—I don’t even want to think about it. I’ve asked to skip Orchestra tours. I used to love traveling, but now I don’t want to leave even temporarily. Maybe because I’ve finally found a sense of belonging I lacked for 20 years.”

Tatev hasn’t stopped composing and hopes she’s developed a distinct musical voice. She says her song “Spring Dreams” best showcases her blend of classical, jazz, and Armenian elements. Her creativity and productivity, she says, are fueled by curiosity and openness to the world. And Yerevan—with its Armenian language, scent of lilacs, and undeniable magic…

It All Starts With One Person
 

“Everything starts with one person (Մի ծաղկով գարուն կգա). No major change in any society has ever come from the masses. Change is always sparked by intellectual individuals. That’s why, in every genocide—including the Armenian one—the first to be killed were the writers, poets, composers, teachers, and astronomers.

This should be a wake-up call to Armenians and to the world: people with independent minds—often creatives—who stand against dogmas like organized religion, should be the ones writing the laws and guiding society toward prosperity, inclusion, and progress.
 

Without us, the masses are easily manipulated and colonized. So if not me—then who? Those who manufacture weapons and define power through military might, destroying mostly women and children? Religious leaders who worship a male god, while forgetting the sacred womb that gave them life and excluding women from leadership?

Cultural figures must be the ones shaping the policies we want to see in this country. If you tell a musician ‘Don’t get into politics,’ then what should they do? If not guiding people toward development, then toward what?
 

Everything around me has become politicized—often to my frustration—but the issues I care about are human, not political. That’s why I believe all creatives must be involved in policy and lawmaking.

That’s why I’m here. Music is the most universal language on Earth. Of the four languages I speak, music is the one that has the power to unite us—regardless of race, age, religion, or background.

I’m not just here to support music management—I’m here to inspire other professionals to come and help guide Armenia’s development.”

Nare Bejanyan