"Adamonyte’s lambent timbre is as sexy as she looks.”
Hugh Canning: The Sunday Times
Representation: General Management
Jurgita was born in Lithuania and studied at the Koninklijk Conservatorium, Den Haag, the Royal Academy of Music, London and the Cardiff International Academy of Voice – she is now based in Italy. Jurgita has already had great success in principle roles at Covent Garden as well as appearances at the Salzburg Festival, Opéra de Lille, Teatro Colon (Buenos Aires), the Ruhrtriennale and Chicago Opera Theater. Her recent performances with Welsh National Opera brought her great critical acclaim.
Mezzo-soprano Jurgita Adamonytė was born in Lithuania and graduated with a Master of Music diploma from the Lithuanian Academy of Music. She continued her studies at the Koninklijk Conservatorium, Den Haag, the Royal Academy of Music, London and the Cardiff International Academy of Voice. She has won first prize in numerous vocal competitions throughout Europe.
She made her debut as Zerlina in Don Giovanni with the Lithuanian National Opera, and since then she has appeared with the Czech National Theatre in Ostrava as Maddalena in Rigoletto, with Frankfurt Opera as Scipio, in the world premiere of Glanert’s Caligula, and with Chicago Opera Theater as Ursula in Beatrice and Benedict.
Other notable performances include Cherubino in the Salzburg Festival’s production of Le Nozze di Figaro with Robin Ticciati (Japanese tour), Idamante Idomeneo with Europa Galante and Fabio Biondi in Amsterdam, Lisbon and London, Dorabella Così fan tutte, Cherubino, and Dunjasha The Tsar’s Bride at the Royal Opera House, Covent Garden, the Page Salome at the Baden-Baden Festspielhaus and in Naples, a return to the Salzburg Festival as Krista The Makropulos Case, Cherubino for Welsh National Opera, the Fox Cunning Little Vixen for Opera de Lille, and Scipio and Idamante for the Teatro Colón, Buenos Aires. Recent engagements include Mélisande in Vilnius, Wardrobe Mistress/Groom/Schoolboy Lulu for Teatro Communale, Bolzano, and Olga Eugene Onegin for Garsington Opera.
She has appeared in concert with the Northern Sinfonia, the Royal Scottish National Orchestra, and Scottish Chamber Orchestra. Recent successes include Hänsel Hänsel und Gretel in Vilnius and for WNO, her role debut as Mélisande Pelléas et Mélisande in a new production for Welsh National Opera and Flosshilde in the new Johan Simons production of Das Rheingold for the Ruhtriennale.
Recent engagements include Jenkins’ Stabat Mater at the Pažaislis Music Festival in Kaunas, Lithuania, Mendelssohn’s Lobgesang under the baton of John Eliot Gardiner with the Gewandhausorchester in Leipzig and on tour in Europe with the London Symphony Orchestra and Diana La Calisto with La Nuova Musica at the Wigmore Hall. Engagements in 2017 include Ino Semele for Garsington Opera and her role debut as Meg Page Falstaff at Teatro Regio di Parma, Italy. Subsequent engagements include Pelléas et Mélisande in Hong Kong.
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Debussy PELLÉAS ET MÉLISANDE (Mélisande) – Welsh National Opera
“Especially outstanding are the titular hero and heroine, ideally sung and played by the South African baritone Jacques Imbrailo and the sopranoish-sounding Lithuanian mezzo Jurgita Adamonyte. Both look their parts to perfection and sing their music with thrilling ease, neither of them fazed by high notes that often call for tenors and sopranos. Certainly, the sense of pushing the boundary that a baritone brings to Pelléas’s most passionate outbursts is thrilling as sung here by Imbrailo, and Adamonyte’s lambent timbre is as sexy as she looks.” Hugh Canning, The Sunday Times (June 2015)
“Jurgita Adamonytė’s Mélisande, the embodiment of ethereal elusiveness. Serial victim or serial seducer? Is she even human, or a spirit conjured (and, at the end, conjured again) by the grotesque animal-headed figure stalking the stage? Adamonytė’s cleverly recessed acting and understated singing leaves the mystery open ended. One moment she is damaged innocent, the next knowing manipulator of all the men attracted to her” Richard Morrison, The Times (June 2015)