The lullaby holds a special place in Armenian folk tradition, standing as one of the oldest and most cherished genres within Armenian musical heritage. Soprano Magda Mkrtchyan, Honored Artist of Armenia and soloist at the Alexander Spendiaryan National Academic Opera and Ballet Theater, has devoted years to uncovering and promoting Armenian lullabies. I sat down with her to explore the rich cultural tapestry behind these songs.
Anna Harutyunyan (A.H.): How did you first become interested in Armenian lullabies?
Magda Mkrtchyan (M.M.): My maternal grandmother was from Kayseri, and she always sang beautiful lullabies in the Kayseri dialect. When I began studying lullabies professionally, I had a particularly emotional experience with one lullaby whose origin I initially didn’t know. Each time I sang it, I felt deeply moved, as though I had known it my entire life. When I later learned it was indeed from Kayseri, everything became clear to me. This deeply personal connection inspired me to uncover more lullabies.
A.H.: Why do lullabies hold such a significant place in Armenian culture?
M.M.: Lullabies are much more than just songs to put children to sleep. They symbolize the cultural identity, essence and uniqueness of every nation. For Armenians, lullabies preserve history and traditions. Armenian mothers traditionally used lullabies to teach their children about life, nature, morality and even national history.
A.H.: You’ve studied lullabies from various cultures. What unique features distinguish Armenian lullabies?
M.M.: Armenian lullabies are incredibly diverse—ranging from historical to lyrical, dance-like to even military lullabies. Their melodies are simple yet profound, often using repetition that mimics the gentle rocking of a cradle. Despite their musical simplicity, many lullabies include complex melismas that demand sincerity and purity from the performer. In my experience, no other nation offers such rich diversity and emotional depth in lullabies as ours does.
A.H.: Armenian lullabies differ widely by region. Could you elaborate on these regional variations?
M.M.: Each Armenian region has its own distinct style and even specific names for lullabies—ruri, lurik, dandan, hayrur, oror and many others. For example, in Taron, they are called ‘ruriner,’ while in Shatakh, lullabies are known as ‘hayrur.’ Even lullabies that sound similar often differ slightly in melody or wording, reflecting each region’s character.
A.H.: Could you share the story behind the famous ‘Arnos’ lullaby from Vaspurakan?
M.M.: ‘Arnos’ from Vaspurakan is especially touching because it narrates a tragic love story. Two lovers were separated by family obligations, and while the young man was away, the girl’s family arranged her marriage to someone else. When he returned, they could communicate only through song—he from the rooftop, and she singing quietly by the baby’s cradle. This lullaby, disguised as a simple bedtime song, profoundly reflects social realities, traditions and personal emotions.
A.H.: Recently, you released your album The Treasury of Armenian Lullabies. How did you select these 21 lullabies?
M.M.: I chose 21 lullabies from different Armenian regions, focusing on variety, historical significance and emotional depth. Each lullaby is unique, reflecting diverse local traditions. It was essential for me to represent the richness of our national heritage and introduce it to today’s listeners.
A.H.: Why do you think today’s Armenian mothers should sing traditional lullabies?
M.M.: Every Armenian child should grow up hearing Armenian lullabies. It connects them with their identity from the very beginning of life. Many mothers hesitate, thinking their voices are not good enough, but no special musical skill is required—the most beautiful voice is the mother’s voice beside the cradle. Singing these lullabies strengthens the emotional bond between mother and child and helps carry our traditions forward.
A.H.: You’ve worked extensively on the previously undiscovered Komitas lullabies. Could you tell us about this experience?
M.M.: My work on Komitas’ lullabies was dedicated to the 150th anniversary of his birth. I uncovered 12 previously unperformed lullabies—four traditionally transmitted and eight reconstructed from known melodies or improvised notes. This project deepened my understanding of Komitas’ immense contribution to our culture. His work proves how ancient and valuable Armenian musical traditions truly are.
A.H.: As an accomplished opera singer, why have lullabies become such a vital part of your creative life?
M.M.: I have always been interested in uncovering the unknown—finding what is still unfamiliar to us and presenting it to my people. Every artist must cherish and uphold their culture, continuing the path laid by our ancestors. Komitas is a brilliant example—he not only introduced our national identity to the world but also dedicated his vocal talent to proving that the Armenian people have an ancient musical heritage.
Although I sing in the opera genre, I cannot ignore my cultural roots. This is a vast undertaking that must be pursued. I love my work, but if an artist does not contribute to their culture, their work remains without impact.
A.H.: Finally, how do you believe modern technology can help preserve Armenian lullabies?
M.M.: I noticed long ago that Armenian mothers are eager to learn lullabies to sing to their children. Many instinctively use words like nani, arev, pokrikis, oror, jan-jan, sometimes even to European melodies. In villages, lullabies are often based on minstrel songs.
Understanding this, I realized that it was necessary not only to sing and transcribe new lullabies but also to organize special events to teach mothers and introduce forgotten lullabies to the public.
Thanks to modern technology, financial obstacles are minimal. The internet allows us to learn and share these songs. I have uploaded all my Armenian lullaby recordings to my YouTube channel so that everyone can listen, learn and pass them on to their children. It is our duty as artists to dedicate great effort and passion to bringing these lullabies back to our people.
Anna Harutyunyan
