"Justina Gringyte, richly and subtly expressive as Elizabeth's rival Sara, Duchess of Nottingham..."
Rupert Christiansen, The Telegraph
"Justina Gringyte showed wit, character and a knockout technique as Kaled."
Anna Pickard, The Times
"She has a thunderously powerful voice and sings with old-school fervour."
Rupert Christiansen, The Telegraph
"Gringyte's mezzo was so good as to make one wish she had even more to sing."
Rian Evans, The Guardian
2015 International Opera Awards Young Singer of the Year, Lithuanian mezzo-soprano Justina Gringytė has received the highest praise for her “knockout technique” (The Times) and “thunderously powerful voice” (The Telegraph). The 2019-20 season sees her return to Lithuanian National Opera and English National Opera (title role Carmen) and Korean National Opera (Hänsel Hänsel und Gretel. She also makes her role debut as Santuzza Cavalleria Rusticana (Scottish Opera).
Highlights of the 2018-19 season include her house debut at Korean National Opera (Hänsel Hänsel und Gretel), her house and role debut as Suzuki Madama Butterfly (Gran Teatre del Liceu) and her role debut as Tigrana Edgar (Scottish Opera). Other engagements include returns to Welsh National Opera (Sara Roberto Devereux) and Lithuanian National Opera (Romeo I Capuleti e i Montecchi) and concert performances with the CBSO (Boulanger’s Psalm 130 at the BBC Proms), Frankfurt Radio Symphony (cond. Oroszo Estrada) and a Wigmore Hall recital with pianist Iain Burnside as part of their Russian Series.
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Title role, Carmen
English National Opera, January 2020
It’s a thoughtful, sometimes provocative production; at its centre are two powerful performances. Justina Gringytė makes Carmen wilful, demanding, sexually voracious, ultimately doomed.
Nick Kimberley, Evening Standard, 30 January 2020
Fortunately, the production is rooted by the presence of the accomplished Lithuanian mezzo-soprano Justina Gringyté in the title role, playfully exuding her seductive dominance
Craig Dacey, Opera Now, February 2020
Lithuanian mezzo Justina Gringytė gave us a formidable Carmen with palpable stage presence. Sensual physicality, a fiery personality offset by just enough vulnerability to be convincing, she gave us a Carmen of tragic humanity. Gringytė has an excellent voice with the heft to rise through ensemble scenes. It’s a sizeable instrument, secure at the top with a smoky depth to it that lingers in the ear.
Dominic Lowe, Bachtrack, 31 January 2020
Forever and a Day
Lithuanian National Opera and Ballet Theatre
...this opera had a winning ace in the form of a really tall and elegant international mezzo singer with her warm, dramatic and powerful voice - Justina Gringyte, a born diva - in the roles of the goddess.
Ora Brafman, The Jerusalem Post, 30 October 2019
Sara, Roberto Devereux
Welsh National Opera, March 2019
The other three principals spark off her and each other: Justina Gringyte, richly and subtly expressive as Elizabeth's rival Sara, Duchess of Nottingham...
Rupert Christiansen, The Telegraph, 1 March 2019
Preziosilla, La Forza del Destino
Welsh National Opera, February 2018
In a conventional production, when she is presented as a mere fortune-teller, Preziosilla’s appearances can seem disconcertingly random, but here she becomes a presence both dynamic and ominous; a seductive urger of recruits to war, a saturnine ringmaster whipping up the action, a single Norn weaving the thread of destiny in and out of the narrative. Justina Gringyte carried the extra burden of the role lightly. She wore the successive costumes (by Marie-Jeanne Lecca) with flamboyantly sassy style, none more so than the tall, icon-like gold headdress and skull mask she had on as she sat astride a cannon to lead a fearsome Rataplan… Gringyte’s characterful mezzo helped bring the requisite new perspective to the ever-present Preziosilla.
Rian Evans, Opera magazine,
Justina Gringyte’s Preziosilla made the greatest impact on opening night. Her granite-toned mezzo was in thrilling condition, especially when imperiously sitting astride a tank’s gun to deliver the rousing Rataplan chorus, a huge blast at the end scattering her victims.
Mark Pullinger, Bachtrack, February 2018
...Justina Gringyte, alluring and sinister as destiny's messenger.
Richard Hubert Smith, The Times, 5 February 2018
Meg Page, Falstaff
CBSO, cond. Ed Gardner, July 2016
Gringyte's mezzo was so good as to make one wish she had even more to sing.
Rian Evans, The Guardian, 14 July 2016
Justina Gringyte made more of Meg Page than one would have thought possible.
Alexander Campbell, Classical Source, 13 July 2016
Title role, Carmen
Scottish Opera, October 2015
She commands the stage, alternately spitting out or sliding deliciously around in her vocal lines, imperious one minute and fragile the next.
David Kettle. The Scotsman, October 2015
All eyes were drawn to Justina Gringyte as Carmen, the star turn of the show, whose magnetic stage presence turned sultry, spitting-angry, vulnerable and passionate as she tore into her arias with a vengeance and astonishing vocal verve.
David Smythe, Bachtrack, October 2015
Her voice is steel-clad, hotly phrased, superbly controlled.
Kate Molleson, The Guardian, 13 October 2015
Title role, Carmen
English National Opera, September 2015
Justina Gringyte, freshly crowned Young Singer of the Year at the International Opera Awards, is a fabulous Carmen: irresistible yet inscrutable, voluptuous yet vulnerable, with a bewitching sultriness in her full-toned mezzo…
Mark Valencia, WhatsOnStage, 28 September 2015
Justina Gringyte – this year’s International Opera Awards Young Singer of the Year – as Carmen, amply justifies the title with just the right blend of innocent gaiety and depravity.
Sarah Dawes, Camden Review, 28 September 2015
“Lithuanian mezzo Justina Gringyte offers a star performance in the title role; with sexual allure to spare, she plays the amoral, tragic gypsy with complete physical command and superior vocalism, equally conveying every word of Christopher Cowell’s skilful English translation.
George Hall, The Stage, 28 September 2015
Kaled, Le roi de Lahore
Chelsea Opera Group, April 2015
“…while Justina Gringyte showed wit, character and a knockout technique as Kaled.”
Anna Pickard, The Times 13 April 2015
“Justina Gringyte as Kaled, the king’s servant, was luxury casting, but Gringyte got one big solo. This was her lullaby to Sita in act two, an aria which Gringyte made one of the highlights and, like her performance in Massenet’s Don Quichotte for Chelsea Opera Group, made you long to here her in a longer role in this repertoire (she has Carmen planned with ENO and Scottish Opera).”
Robert Hugill, Planet Hugill, 13 April 2015
“In the travesti role of Kaled, Justina Gringyte seemed to invoke the spirit of Carmen with a fine, rounded French sound in her Act 2 romance ‘Ferme les yeux’. This was a small part with only contributions in the Act 1 finale and parts of Act 2 before disappearing from the story like Lear’s fool but Gringyte made the most of the opportunities presented.”
Llyr Carvana, Opera Britannia, 13 April 2015
English National Opera, September 2014
Where it was good, though, this revival was very, very good. It would be hard to imagine a more black-hearted assassin than Brindley Sherratt’s baleful Sparafucile, nor a more calculating Maddalena than Justina Gringyte. What a glorious pair of villains they are! Performed as well as this you can’t help wishing Verdi had written them an opera all their own.
Mark Valencia, WhatsOnStage, 13 September 2014
The Lithuanian mezzo Justina Gringyte makes an excellent Maddalena, with well focused tone…
Tully Potter, ClassicalSource, 12 September 2014
Lithuanian Justina Gringyte strikes real sparks in her brief appearance as Sparafucile’s sister, Maddalena, in Act III.
David Gutman, The Stage, 15 September 2014
Mahler Symphony No 8
Philharmonia Orchestra, cond. Esa-Pekka Salonen, July 2014
On the other side of the platform, though, Judith Howarth and Elizabeth Llewellyn soared up to soprano heights with ease, while Karen Cargill and Justina Gringyte made their mezzo moments tell; meanwhile, Lucy Crowe filtered in Mater Gloriosa’s ethereal line magically from a distance. The overall impression was convincing, with some distinguished orchestral playing underpinning the security of the conjoined choirs.
George Hall, The Guardian, 1 July 2014
Welsh National Opera, May 2014
Fenena, sung by Justina Gringyte, made a good foil to the heavier voice of Abigaille.
Simon Rees, Bachtrack, 4 June 2014
Justina Gringyte and Robyn Lyn Evans were well-matched lovers in Fenena and Ismaele.
Stephanie Power, The Independent, 2 June 2014
Robin Lyn Evans and Justina Gringyte project vibrant tone and lucid Italian as the unfortunate lovers Ismaele and Fenena.
Rupert Christiansen, The Telegraph, 1 June 2014
Both Ismaele (Robyn Lyn Evans) and Fenena (Justina Gringyte) were vocally assured and a pleasure to hear.
Norman Stinchcombe, Birmingham Post, 25 January 2014
English National Opera, February 2014
The vampish Maddalena of Justina Gringyte, towering over Banks at the curtain call, was fabulous, her ripe mezzo the perfect foil for Christy’s soprano in the quartet.
Mark Pullinger, Opera Brittania, 25 February 2014
But while the thrust of her tabooed relationship adds little to this opera, Justina Gringyte’s Maddalena is a joy to watch on stage. Dressed by designer Michael Levine in jewels, a corset, lacy white undershorts and structural hoop skirt, she cuts a glamorous figure of perversion. Simultaneously tempting the Duke into exposing his infidelity, and preparing him for Sparafucile’s assault, she engineers the completion of his crime and the start of what could be his punishment in one fair sweep.
Amelia Forsbrook, Reviews and Features, 17 February 2014
There’s strong support from Peter Rose (Sparafucile), Justina Gringyte (Maddalena) and Diana Montague (Giovanna) and this is a thoroughly enjoyable evening of insightful direction and fine musicianship.
Simon Thomas, WhatsOnStage, 14 February 2014
With strong support from Peter Rose and Justina Gringyte as Sparafucile and Maddalena, Verdi’s score was honoured even if Victor Hugo’s drama was shortchanged.
Rupert Christiansen, The Telegraph, 14 February 2014
Kathleen Ferrier Competition
Wigmore Hall, May 2011
Lithuanian mezzo Justina Gringyte has a thunderously powerful voice and sings with old-school fervour. Predictably, she was at her best in Lyubasha’s aria from Rimsky-Korsakov’s The Tsar’s Bride.
Rupert Christiansen, The Telegraph, 3 May 2011