Justina Gringytė
mezzo-soprano
Works with Vilnius City Opera
In opera
"Carmen“
"Aida"
"Thérèse"
"The Rake‘s Progress"
"Nabucco“
"Rigoletto“
"La forza del destino“
"La Rondine“
"Falstaff“
"La Damnation de Faust“
"Madama Butterfly“
"Edgar“
"Parsifal“
"Die Walküre“
"Le roi de Lahore“
"Don Quichotte“
"Dido and Aeneas“
"I Capuleti e i Montecchi“
"Roberto Devereux“
And other
Theaters
United Kingdom
United Kingdom
United Kingdom
United Kingdom
France
Israel
Germany
Latvia
Russia
Russia
Spain
Italy
Portugal
South Korea
United Kingdom
In concerts
G. Verdi
G. Mahler
A. Dvořák
L. van Beethoven
R. Wagner
H. Berlioz
A. Vivaldi
Collaborated wit
Marco Armiliato
Richard Armstrong
Renato Balsadonna
Maurizio Benini
Giampaolo Bisanti
Gustavo Dudamel
Edward Gardner
Mirga Gražinytė - Tyla
Graeme Jenkins
Nicola Luisotti
Rory Macdonald
Gianluca Marciano
Michele Mariotti
Ludovic Morlot
Kazushi Ono
Antonio Pappano
David Parry
Valentina Peleggi
Alejo Perez
Evelino Pido
Modestas Pitrėnas
Sesto Quatrini
Carlo Rizzi
Esa – Pekka Salonen
Yannick Nezet - Seguin
Tugan Sokhiev
Giedrė Šlekytė
Robertas Šervenikas
Robert Trevino
Barry Wordsworth
Xian Zhang
Awards
International Opera Award (2015)
Young Singer of the Year
Lithuanian Ministry of Culture (2015)
Debut of the year premium
What can be done when you have the chance to work with one of the best performers of Carmen in the world? Others may decide for themselves, but the VCO proposed Justina Gringytė… to learn the part anew! The electronic opera e-Carmen came as a surprise to the audiences and performers alike. This is not the modern remix of Georges Bizet’s opera, but an original work by Marijus Adomaitis (aka Ten Walls) based on Bizet, which made even the winner of 2015 International Opera Awards Young Singer of the Year toil hard. Gringytė’s Carmen is compelling, passionate and modern. It was only an uncompromising artist like Justina, with her respectful approach to work and unconditional work ethic, who could take on a Sisyphean task like this. It is interesting to note that neither her roles, nor her being in front of the lens, nor the grand scale of venues, like the Royal Opera House or English National Opera in London, Gran Teatre del Liceu in Barcelona or Moscow Bolshoi Theatre, have obscured the lustre of her piercing eyes.
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