Jurgita Adamonytė
Mezzo-Soprano
Press Reviews
Cherubino in Le Nozze di Figaro (Royal Opera House, Covent Garden)
"In the smaller roles there was an abundance of experience and talent... Jurgita Adamonytė was a touching Cherubino who was rather more restrained than some, but to humourous effect. Adamonytė sang very touchingly too and her arias were nicely contrasted in mood.
- Alexander Campbell, ClassicalSource.com, May, 2010
"Jurgita Adamonyte... as Cherubino in energetic fashion and with profundity when required..."
- Colin Anderson, The Opera Critic, May, 2010
"With... the Lithuanian mezzo-soprano Jurgita Adamonyte delightful in the role of the mischievous pageboy Cherubino, all the main roles left nothing to be desired."
- William Hartston, Express.co.uk, May, 2010
"The program book tell us... that Jurgita Adamonytė, a young Lithuanian mezzo-soprano who has already appeared in the house successfully - as poor gormless Blanche, in The Gamblers - will sing the role for the whole run instead. Hard to reconcile the corn-blond waif we see in this with the dark tart we saw in the Prokofiev, but it's one-and-the-same singer, and... she gets as much out of the role as anyone seen in this staging. "
- Stephen Jay-Taylor, Opera Britannia, May, 2010
"Jurgita Adamonytė made a promising debut as Cherubino..."
- Rupert Christiansen, The Telegraph, June 1, 2010
"The two favourite Cherubino arias are well sung by Jurgita Adamonytė..."
- Richard Fairman, The Financial Times, June 1, 2010
"Jurgita Adamonytė's Cherubino is perceptively sung and gracefully acted..."
- George Hall, The Stage, June 1, 2010
Blanche in Prokofiev's The Gambler (Royal Opera House, Covent Garden)
"Jurgita Adamonytė and Kurt Streit captured the rootless world of the international demi-monde in their Blanche and Marquis, without resorting to the seductive prospect of mere stock character. "
- Mark Berry, MusicWeb International, February, 2010
"Sterling performances from the large cast, with John Tomlinson's bewildered General, Kurt Streit's super-suave Marquis and Jurgita Adamonytė's flouncy Blanche all exceptional."
- George Hall, The Stage, February 12, 2010
Idamante in Idomeneo (Barbican Hall, London)
"The Lithuanian mezzo Jurgita Adamonytė replaced the indisposed Christine Rice at short notice and she proved to be one of main delights of the evening. Adamonytė projected all the ambiguity between love (for Ilya with a note of vulnerability) and dutiful virtue. Her vocal register is somewhere midway between mezzo and soprano, so she could manage the upper registers without a hint of strain, mercifully eschewing all vibrato. She was a model of clarity and beautiful tone, also of pronunciation throughout. In later revivals of Idomeneo Mozart gave the part of Idamante to a tenor but with singing of this quality I would happily stay with the mezzo version. I look forward to hearing/seeing Adamonytė as Idamante in a staged opera production."
- Geoff Diggines, MusicWeb International, May, 2008
"At her side, Jurgita Adamonytė created a touching account of Idamante, willing to sacrifice himself for Crete's future."
- George Hall, The Guardian, May, 2008
"For me, the singer most in keeping with the rest of the performance was the young Lithuanian mezz-soprano Jurgita Adamonytė. Although not as powerful as some of the others, her poised singing, which employed vibrato expressively rather than constantly, made Idamante's numbers some of the most effective in the performance. Her contained physical stance, too, suited the elegant line of the character's music."
- Dominic McHugh, MusicalCriticism.com, May, 2008