Asta Krikščiūnaitė has graduated from the Lithuanian Academy of Music, doc. A. Vilčinskaitė’s solo singing class. She started her career in Klaipėda Music Theatre, where she played Rita’s part in G. Donizetti’s opera Rita and Monica in G. C. Menotti’s opera The Medium, which immediately attracted the audience’s and critics’ attention. For Monica’s part she was awarded the prize of Lithuanian Theatre Union in 1989. The same year she was awarded the first prize at the young performers competition in Moldavia, in 1992 a diploma at the international L. Pavarotti competition in Philadelphia (U.S.A.). In 1991-1994 the soloist studied in New York (U.S.A.) with Clair Alexander, Yves Abel and J. B. Klaviter.

A. Krikščiūnaitė has created many memorable parts in Lithuanian music theatres. Her most recent works include Kristina in G. Kuprevičius’s opera Prussians (Klaipėda Music Theatre), Margarita in Ch. Gounod’s opera Faust, Juliet in J. Offenbach’s opera Tales of Hoffmann, Mikaela in G. Bizet’s opera Carmen (Lithuanian National Opera and Ballet Theatre). A. Krikščiūnaitė is often invited to sing in the Estonian National Opera, Tallinn. Estonian critics have approvingly responded to her parts - Angelica in G. Puccini’s opera Sister Angelica, Elisabeth in G. Verdi’s opera Don Carlo and Elvira in G. Verdi’s opera Ernani. In 2004, she was honoured with the Order of White Star for her contribution to Estonian culture. In 2005 she was awarded the Gold Disc Award by the Lithuanian Musicians Union.

The genres of opera, oratory, cantata or song are equally important in the singer’s repertoire. She sings solo parts in St. Matthew Passion by J. S. Bach, Dixit Dominus by G. F. Handel, Christ by F. Liszt, Requiem by W. A. Mozart and G. Verdi, Te Deum by A. Bruckner, Requiem and Stabat Mater by A. Dvorak, IX symphony by L. van Beethoven, Glagolitic Mass (Mša Glagolskaja) by L. Janaček. A. Krikščiūnaitė has been giving concerts with various symphony and chamber orchestras in Lithuania, Estonia, Germany, France, U.S.A. She sang under the baton of Lord Yehudi Menuhin (Great Britain), Mstislav Rostropovich (Russia), Juozas Domarkas, Saulius Sondeckis (Lithuania), Paul Mägi, Arvo Volmer, Andreas Mustonen (Estonia), Ingo Ernst Reihl, Pavel Berman (Spain), M. Sidlin (U.S.A.). In 1999 and 2001 she sang at the final concerts of the Warsaw National Philharmonic Symphony Orchestra’s season under the baton of the artistic director of Warsaw National Philharmonic Kazimierz Kord.

The singer interprets chamber music in an especially admirable way, which she performs with her regular partner pianist A. Kisieliūtė. The musicians have prepared several concert programmes, recorded two audio tapes, a compact disc. They often participate in radio and television programmes, tour abroad (U.S.A., Sweden, Germany, Poland, Russia, Poland), participate in international festivals.

Since 2005, she has taught singing at the Lithuanian Academy of Music and Theatre.

"That evening A. Krikščiūnaitė set the tone to the musical solo singing of highest level. The soloist’s voice - beautiful timbre, evenly sounding on all registers, subtle phrasing and moderate acting reached culmination during the aria of the third act and received a storm of applause and “bravo”."

Viktoras Gerulaitis. “Two Debuts and a Wind Band at the Opera”, Lietuvos Rytas, 4 April 2000 (Lithuania)

"The significance of the concert was conditioned by the artistic, high level interpretation, the tastefully and admirably structured programme and the harmony of the singer and pianist’s ensemble. Both musicians are inclined to mature their interpretations, not to fluster in polystylist swirls, thus even the most recent programme emanated understanding, authenticity, wit and conceptuality."

Vytautė Markeliūnienė, “In a Spirit of Tender Association”, 7 Meno Dienos, 2002 (Lithuania)

"The singer has a beautiful voice. She is very talented and sensitive. I think that these features will open the world's stages best for her."

Kazimierz Kord

"The Lithuanian sinder, Asta Krikščiūnaitė, charmed the audience at the Estonia Theatre in Puccini's "Sister Angelica". Her voice is equally impressive in both lyrical and dramatic pieces."

Mare Pöldamäe

"The Lithuanian singer's voice has a wonderful timbre, and her singing technique is of the highest quality. Her voice was perfect to dischose Elisabeth's drama."

Annelė Remme

It has been a long time since I have heard a concert of such a high standard as tonight. It reminded me of performances by the celebrated chamber singers Luis Marchall and Irina Arkhipova. (…) The concert was exciting not only because of an especially subtle programme with no cheap effects, but also because the singer Asta Krikščiūnaitė and the pianist Audronė Kisieliūtė were a superb ensemble. On a chamber stage, the singer Asta Krikščiūnaitė feels perfectly at home, and every composition she performs becomes a little poem. Krikščiūnaitė’s chamber music performances display her best qualities as an interpreter: subtlety, sensitivity, musicality and vocal culture. It was a concert of the highest calibre.

Mati Palm, “A Concert of the Highest Calibre”, Den za Dnyom, 25 April 2003 (Estonia)

What was really magical was the singer’s sincere openness, which seemed to come from the bottom of her heart: this was truly entrancing. When Asta Krikščiūnaitė sings, as though having forgotten everything in the world and with her eyes shining, lovely overtones are heard in her voice, which is delicately complemented by the accurate and perfectly balanced piano accompaniment of her regular stage partner, Audronė Kisieliūtė. With this duo, the piano always plays at the proper place and time, sometimes leading and sometimes following, with the appropriate dynamics and an expressive characteristic detail.

Živilė Ramoškaitė, „Allured by the Wings of Songs“, Muzikos Barai, April 2002

The music of the cantata is full of dramatic tension, a major burden of which falls on the vocal part. This was performed by the singer Asta Krikščiūnaitė, who accurately and distinctly conveyed every dramaturgical detail, treading through deep layers of the sophisticated harmony safely and steadily, as though competing with the orchestra. It is true to say that, from a vocal point of view, it was due to Krikščiūnaitė’s dramatic forcefulness that this work became a kind of mono-opera.

Tomas Bakučionis, “Two Weekends with the Lithuanian National Symphony Orchestra”, Muzikos Barai, No. 12, December 2003/January 2004