Kostas Smoriginas

baritone

Works with Vilnius City Opera

In opera

"Carmen“

Escamillo

"Madama Butterfly"

Sharpless

"Elektra"

Orest

"Aida"

Amonasro

"La Traviata"

Alfredo Germont

"Don Giovanni“

Don Giovanni, Leporello, Masetto

"Faust“

Méphistophélès

"Tosca"

Baron Scarpia

"Le nozze di Figaro“

Figaro, Count Almaviva

"Tristan und Isolde"

Kurwenal

"Boris Godunov"

Andrey Shchelkalov

"The Demon"

Demon

And other

Theaters

United Kingdom

Royal Opera House

Italy

Teatro alla Scala

Germany

Staatsoper Unter den Linden

Belgium

La Monnaie De Munt

Germany

Staatsoper Hannover

United Kingdom

Opera North

France

Théâtre du Capitole de Toulouse

Chile

Teatro Municipal de Santiago

USA

Carnegie Hall

Austria

Salzburger Festspiele

USA

Santa Fe Opera festival

Austria

Bregenzer Festspiele

France

Festival international d'art lyrique d'Aix-en-Provence

Germany

Die Berliner Philharmoniker

And other

In concerts

G. Verdi, W. A. Mozart, G. Faure

Requiem

L. v. Beethoven

Die 9. Sinfonie

A. Dvořák

Te Deum

K. Szymanowski

Stabat Mater

I. Stravinsky

Les Noces

S. Rachmaninoff

The Bells

D. Shostakovich

Symphony No. 13

Collaborated with

Antonio Pappano

Daniel Oren

Simon Rattle

Louis Langrée

Edward Gardner

Andris Nelsons

Awards

Plácido Domingo's Operalia competition

3rd place

Opera award „Švyturys“ (2012)

Male soloist of the Year

Golden Stage Cross Award (2024)

Male soloist of the Year

Other

2020 - present

Soloist of the Lithuanian National Opera and Ballet Theatre

What are you supposed to do, being born into a family of one of the most celebrated Lithuanian actors? Kostas Smoriginas made his choice by becoming one of the most celebrated Lithuanian baritones. Speaking of the High Priest of Dagon played by Kostas in Samson et Dalila, we could hardly avoid discussing his artistry. He clearly has a gift of feeling at ease and in his element on stage, being open to the great diversity of characters he has to enact, but high level stage portrayals become convincing only after a lot of persistent work and effort, even though it looks like the five-finger exercise. There is also an inborn streak of darkness in him, which becomes reflected as anger, grief, or grievance depending on his role. After all, it was the High Priest who really murdered Samson with the help of Delilah in Camille Saint-Saëns’ opera. Kostas effectively uses speech, song and voice to enthrall audiences in major opera venues like London’s Covent garden, Milan’s La Scala, Moscow’s Bolshoi, San Francisco and Washington opera, Bregenz and Salzburg Festivals to name but a few. His voice is an amazing combination of sombre, thunderous, and at the same time velvety tones.

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