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 / MOZART / WELSH NATIONAL OPERA / CARDIFF
'Mercifully, Cherubino was a delight and a natural stage animal in the deft hands of Jurgita Adamnyte. 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 / 7 March 2012
"Jurgita Adamonyté's spunky Cherubino had much presence"
Rian Evans / The Guardian / 27 February 2012
"Jurgita Adamonyté as Cherubino was impressive; ‘Voi che sapete’ was nicely turned, and throughout Adamonyté’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 / 28 February 2012
Beethoven Mass in C, City Hall, Glasgow- 3 Feb 12
“Elena Xanthoudakis, Jurgita Adamonyté, Andrew Staples and Alastair Miles were a liberating solo vocal quartet, providing the all-important operatic edge that gives this setting its genuine originality.”
Kenneth Walton / The Scotsman.com/ 4 February 12
Beethoven Mass in C, Edinburgh- 2 Feb 2012
“The excellent quartet of soloists leavened the texture too, the rich, authoritative mezzo of Jurgita Adamontyé contrasting beautifully with the bright, clear and wonderfully sweet soprano of Elena Xanthoudakis.”
Simon Thompson / Seen and Heard International / 3 February 12
Mozart Requiem, Usher Hall, Edinburgh - 28 October 2011
Royal Scottish National Orchestra / Peter Oundjian
'The best moments came from the outstanding quartet of soloists, as fine as any I have heard in this work. Matthew Rose’s thrilling bass made the hair stand up in the Tuba mirum, keeping his clarion clarity even (or especially) at the bottom of his range, while the clean, soulful tenor of Benjamin Hullet marks him out as someone to watch. The plangent tones of Jurgita Adamonyté’s mezzo contrasted well with the stark beauty of Sarah-Jane Brandon’s bright, sometimes austere soprano. The moments where the quartet sang together, especially in the Recordare, were the most spiritual – and thrilling – of the whole evening.'
Simon Thompson / Seen and Heard
'...an evenly balanced quartet of excellent young soloists – Sarah-Jane Brandon, Jurgita Adamonyte, Benjamin Hulett and Matthew Rose.'
Andrew Clark/Financial Times, November 1, 2011
'...the well-matched vocal quartet of soprano Sarah-Jane Brandon, mezzzo Jurgita Adamontye, tenor Benjamin Hulett and bass Matthew Rose.'
Michael Tumelty/Glasgow Herald, October 31, 2011
'The quartet of Sarah-Jane Brandon, Jurgita Adamonyte, Benjamin Hulett and Matthew Rose were of star quality too. No booming operatic delivery here but perfectly scaled for such a classical gem.'
Garry Fraser/Fife Courier & Advertiser, October 31, 2011
The Tsar's Bride
Royal Opera House, Covent Garden
a clutch of notable young singers in Dmytro Popov’s Likov, Jurgita Adamonyte’s Dunyasha and the outstanding Alexander Vinogradov as Malyuta-Skuratov
Richard Fairman / Financial Times / 19 April 2011
the wonderful Jurgita Adamonytė
Mark Berry / Seen and Heard / 19 April 2011
Cosi fan tutte
Palm Beach Opera
As the two female leads, Cvilak and the mezzo-soprano Jurgita Adamonyte as Dorabella displayed a dramatic and vocal affinity that was among the best elements of the performance. ... Adamonyte was a vivacious stage presence who brilliantly conveyed the demure enthusiasm with which the character approaches her new romantic opportunities, but also brought great warmth to the trio wishing the men a safe return from war.
David Fleshler / South Florida Classical Review / 27 February 2011
Sister Dorabella was sung by mezzo soprano Jurgita Adamonyte. She has a full, resonant tone that she uses with a winning enthusiasm. Her acting added a cheerful and animated dimension to her role as the more flighty of the two sisters. She especially excelled in her aria È amore un ladroncello.
R. Spencer Butler / Palm Beach Daily News / 26 February 2011
Cherubino in Le Nozze di Figaro
Royal Opera House, Covent Garden
June/July 2010
Jurgita Adamonyte made a promising debut as Cherubino.
The Daily Telegraph, June 2010
The two favourite Cherubino arias are well sung by Jurgita Adamonyte.....
The Financial Times, June 2010
Jurgita Adamonyte’s Cherubino is perceptively sung and gracefully acted.
The Stage, June 2010
...the pleasing Cherubino of Jurgita Adamonyte....
The Times, June 2010
IDOMENEO
Europa Galante, Fabio Biondi
"Jurgita Adamonyte created a touching account of Idamante."
George Hall, The Guardian, May 19 2008
Karl Jenkins STABAT MATER
"Lithuanian mezzo Jurgita Adamonyte’s voice is rich in timbre and yet possesses a lightness and sweetness."
Robert Levett, International Record Review, June 2008