Jurgita Adamonytė

Jurgita Adamonytė

MEZZO-SOPRANO
"Adamonyte’s lambent timbre is as sexy as she looks.”

Hugh Canning: The Sunday Times


Representation: General Management

Overview

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.

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Full Biography

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, Flosshilde in the new Johan Simons production of Das Rheingold for the Ruhtriennale, 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 2017/2018 include Ino Semele for Garsington Opera, Suzuki Madama Butterfly in Castelfrentano, Italy, Meg Page Falstaff at Teatro Regio di Parma, further performances of Pelléas et Mélisande for WNO in Hong Kong, her role debut as Octavian Der Rosenkavalier for Deutsche Oper am Rhein and Stephano Roméo et Juliette in Beijing.

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to make sure you receive the most up to date version.  Email: Elin Jones

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News

Mélisande in Hong Kong

March 13th, 2018

Jurgita Adamonytė returns to the role of Mélisande in WNO’s award winning production on tour to Hong Kong

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Garsington 2017

May 31st, 2017

Hazard Chase artists appearing at Wormsley Estate: Garsington Opera

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Watch Eugene Onegin Online

July 12th, 2016

Critically acclaimed production of Tchaikovsky’s masterpiece available to view online

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A Summer of Opera

May 5th, 2016

Hazard Chase singers in UK’s top summer opera festivals

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Lulu goes to Bolzano

January 7th, 2016

David Pountney’s acclaimed production for Welsh National Opera revived for two performances

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Reviews

Debussy PELLEAS ET MELISANDE – WNO in Hong Kong

“…mezzo Jurgita Adamonyté with a voice like smoky heather honey…Yet Adamonyté avoided caricature, portraying Mélisande as a creature of instinct, both innocent and cunning… Imbrailo and Adamonyté’s singing alone provided ample magic”
Bachtrack.com, Carla Escoda (19 Mar’18)

Handel SEMELE – Garsington Opera

“…being pursued by Semele’s frumpy sister Ino (Jurgita Adamonyte, whose owlish spectacles could not dim this radiant Lithuanian mezzo-soprano)”
Amanda Holloway, Opera Magazine (August 2017)

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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)

“Jurgita Adamonytė’s Mélisande is never innocent or insubstantial, but a very knowing protagonist who visibly casts her spell, Lulu-like, not only over Pelléas and Golaud, but almost every other member of the cast, Geneviève and Yniold included.  Sleekly sung with a boldly projected line…..”
Peter Reynolds, Opera Now (July/Aug 2015)

“Mezzo-soprano Jurgita Adamonytė is seductively sensual as Mélisande, subtly suggesting that “terrible innocence” which is the cause of so much chaos and ultimate tragedy.”
Peter Collins, Wales Online (June 2015)

“ Jurgita Adamonyte got the biggest applause, and she is indeed exquisite, with the right French timbre, slightly edgy, a light top, but reserves of warmth as well.”
Stephen Walsh, The Arts Desk (June 2015)

“Jacques Imbrailo and Jurgita Adamonyté were vocally ideal in the title roles, a high-lying baritone and mezzo-soprano who portrayed the lovers with all the fresh warmth and pliancy that Debussy intended. Both seized their big moments with confidence – Adamonyté rapturous as she lets her hair cascade from the tower”
Rupert Christiansen, The Telegraph (June 2015)

“It would be hard to imagine a better sung, played or conducted Pelléas et Mélisande than this.”
Mark Valencia, What’s On Stage (June 2015)

Hänsel und Gretel (Director: Richard Jones) – Welsh National Opera

“Adamonytė has a properly boyish presence, and her strong, unforced mezzo is warm and agile”
Rian Evans, The Guardian (February 2015)

Le Nozze di Figaro – Welsh National Opera

‘Mercifully, Cherubino was a delight and a natural stage animal in the deft hands of Jurgita Adamonytė. What a glorious, natural instrument she has, able to create the passion and charm of Cherubino with style. Her ‘Voi, che sapete’ was a genuine outpouring of feeling, full of intensity and understatement which led on beautifully to the exchange with the Countess. This was a Cherubino with a little splash of prior konwledge that he might one day have a child with the Countess… Adamonyte is clearly at home with Mozart repertoire, and her upper range’s security gave the role lightness and charm. What a delight!’
Bethan Dudley Fryar, Opera Brittania (March 2012)

“Jurgita Adamonytė’s spunky Cherubino had much presence”
Rian Evans, The Guardian (February 2012)

“Jurgita Adamonytė as Cherubino was impressive; ‘Voi che sapete’ was nicely turned, and throughout Adamonytė’s characterisation was well-judged, amusing but never absurd, able to persuade us that for all his excesses Cherubino is capable of real (if immature) emotion – so that one can recognise Cherubino’s place in Da Ponte’s and Mozart’s exploration of the many different meanings of the word love.”
Glyn Pursglove, Seen and Heard (February 2012)

Le Nozze di Figaro – Royal Opera House, Covent Garden

“Jurgita Adamonytė made a promising debut as Cherubino.”
The Daily Telegraph, (June 2010)

“The two favourite Cherubino arias are well sung by Jurgita Adamonytė …..”
The Financial Times, (June 2010)

“Jurgita Adamonytė ’s Cherubino is perceptively sung and gracefully acted.”
The Stage, (June 2010)

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Discography & Repertoire

Artist Manager

John McHugh (Cambridge)
john.mchugh@hazardchase.co.uk
01223 706024

Assistant Artist Manager

Elin Jones (Cambridge)
elin.jones@hazardchase.co.uk
01223 706026