Tchaikovsky – WAR AND PEACE – Welsh National Opera

“Jurgita Adamonyte portrayed the amoral Helene, unloving wife of Pierre, and sister of the equally amoral Anatole, who is interested only in her own hedonistic lifestyle of parties, affairs and scheming… Adamonyte played the part wonderfully, her warmly colored mezzo-soprano enveloping her words with a rich seductive quality.”

Alan Neilson, (November 2018)


“…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”
Carla Escoda, Bachtrack (March 2018)

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)

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 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)