Aušra Stasiūnaitė

Sound recordings
Sound recordings


Gioachino Rossini

"The barber of Seville" - Rosina

"L'italiana in Algeri" - Isabella

Georges Bizet

„Carmen“ - Carmen

Giuseppe Verdi

„Don Carlo“ - Eboli

Vincenzo Bellini

„Norma“ - Adalgisa

Pyotr Tchaikovsky

„Eugene Onegin“ - Olga

Modest Mussorgsky

„Boris Godunov“ - Marina Mišek, Fiodor

William Walton

„The Bear“ - Popova

Johann Strauss

„Die Fledermaus“ - Orlovsky

Vytautas Jurgutis

„Marių paukštė“ - Stebuklingas arkliukas

Vytautas Klova

„Pilėnai“ - Mirta

Jurgis Gaižauskas

„Buratinas" - Lapė

Algimantas Bražinskas

„Kristijonas“ - Ana Regina

Bronius Kutavičius

„Lokys“ / "The Bear" - Grafienė

Vocal Instrumental Works

Ludwig van Beethoven

IX Symphony

Louis-Nicolas Clerambault


Joseph Haydn

Mass for St. Michael

George Frideric Handel 


„Judas Maccabaeus“

„The Messiah“

Wolfgang Amadeus Mozart


„Missa brevis“

„Coronation Mass“

Gioachino Rossini

Cantata „Joan of Ark“

Georg Philipp Telemann

Six psalms

David Krivicki

"Three Monologues"

Mikis Theodorakis

"Spring Symphony"

Cinderella's aria from G. Rossini "Cinderella"

Сказки Венского леса - J. Strauss

Vytautas Barkauskas - Atviri langai

''This Lithuanian singer is gifted with a light, lovely and flexible voice. It must be noted that by including in her competition repertoire Glinka's “The Journey's Song", which is rarely sung by the female voice, she has demonstrated her vocal mastery and subtle artistic taste. The rest of her programme Aušra Stasiūnaitė performed with enthralling

B. Baturin, Muzykalnaya Zhinj, 1976, No.  2

"The voice of this fourth-year Conservatoire student won over the audience and the judges in the first round even though it was not the strongest of those they heard. Stasiūnaitė showed a versatility rare in young soloists, and in Arsace's aria from Rossini's "Semiramide" she demonstrated a vocal technique which surprised an indeed very experienced panel of judges. Valerij Gavrilin's "The Sufferer" was unexpectedly (for a Baltic singer) and skilfully given a national Russian colouring. Then, in quite another vein, she sang Glinka's romance, the famous "The Journey's Song" and some Lithuanian songs, and in the third round Rosina's aria from Rossini's "The Barber of Seville".

Irina Archipova, Sovjetskaya Muzika , I 976, nr.

"The songstress distinguishes herself by her enviable artistry and individuality. Aušra Stasiūnaitė gave an impressive concert performance of Isabella's aria from Rossini's "The ltalian Girl in Algiers" and Glinka's "The Journey's Song", works which demand flawless technique and musicality''.

Zenonas Paulauskas, Literatūra ir menas, 1976 09 25

"Her chamber music voice rendering Telemann's Sixth Psalm conjured up again that subtle beauty which all of this composer's works still possess today".

Darutė Petrauskaitė,  Literatūra ir menas, 1978 12 30

"I must admit that I was really quite moved by Aušra Stasiūnaitė's presentation in Tbilisi. She gave us a wonderful vocal feast with her fine programme. She seemed to embody all the best that Lithuanian vocal teaching and culture has achieved."

Jevgenij Nesterenko, Kultūros barai, 1980, nr.  7

"Meanwhile the lofty Olga, played by Aušra Stasiūnaitė in this performance,… was not acting but was simply herself - youthfully lively, disregarding her sister's pessimism, reacting to Lenski's  jealous scenes with scant tolerance. Stasiūnaitė performs this part and sings the characteristic low contralto notes with ease . "

Vytautas Venckus,  Literatūra ir menas,  1981 07 04

“Aušra Stasiūnaitė scintillates as the widow Popova (William Walton's "The Bear"). As never before, she was absolutely convincing in her role. Role-preparation of this kind, I would think, reveals a great deal to an artist who is conscious of her craft, and it is increasingly clear that this a singer of that kind."

Marius Gudžiūnas  Literatūra ir menas, 1981 09 26

"The second part of the concert was devoted to the classics, Purcell and Rossini, which we do not often hear so accurately interpreted. The musical form of Purcell's six songs and the dynamic contrasts throughout interwoven with a spontaneous lyricism bewitched the audience. In Rossinis' arias (as Rosina and Cinderella) the soloist showed her serious artistic taste. "

Ona Kavaliauskienė, Tiesa, 1982 03 I 3

"In Act II accompanied by a mandolin, Princess Eboli sings her fateful song about a veil. Although this is one of the opera's highlights and must be sung with the virtuoso coloratura embellishments, it is, consequently, so difficult that it does not find its way
into every production. It is sung here by Aušra Stasiūnaitė and chorus with easy grace."

Gražina Žuklytė-Daunoravičienė, Gimtasis kraštas, 1982 04 03

"Her singing of Rosina's aria from Rossini's "Barber of Seville" must be singled out. The soloist's enormous vocal range (mezzo-soprano) and sparkling coloratura held the audience spellbound."

Oleg Rozenson Rabochij putj, 1982 03 27

"The singer.who most impressed us was Aušra Stasiūnaitė-Čepulkauskienė. Her interpretation of the "Habanera" from Bizet's "Carmen", "Oh Native Vermland" and an aria from "Barber of Seville" made us forget for an instant that we were in the Forum, and we felt that we were watching opera in one of the best stage venues in the world.”

Tolge – Bergkvist,  Oskarshamn, 1983 09 2 I

"Aušra Stasiūnaitė sang the J.S.Bach aria from the "Christmas Oratorio", excerpts from Telemann’s Sixth Psalm and arias by Vivaldi and Galuppi as accurately and stylishly as always."

Osvaldas Balakauskas,  Literatūra ir menas 1983 03 26

“A successful performance of another David Krivicki work,  "The Three Monologues" with libretto by Tiutchev (about nature, life and love), which marries the lofty lyrics of a romantic song to grand opera style. The interpreter of this work of complex beauty was Aušra Stasiūnaitė, a coloratura mezzo-soprano of rare quality."

Tamara Grum-Grzimailo, Izvestia, 1984, nr. 34

"When Aušra Stasiūnaitė's Carmen appears on stage the crowd around her brightens up and revives. ... In Act II, she provides her own castanet accompaniment and it is as good as any orchestra member's so thoroughly does she feel her role through the music of the opera. It is a very endearing quality."

Jūratė Vyliutė,  Tiesa, 1985 08 31

"...From somewhere far away was heard a voice, lonely and plaintive. Closer and closecamethe hymn, until the singer, Aušra Stasiūnaitė, entered…What we were hearing was a 14th century anonymous hymn to the Virgin Mary from theliturgical drama "The Hermit's Secret". Everyone in the auditorium was deeply moved: it was as though the singer's voice had bound us in a magic circle as it cast its spell...Everyone realised that here was a true professional; her bearing, hand movements, rich voice, the castanets, all of these enthralled the audience. I was delighted by her artistry, the flexibility of her vocal technique, her emotionality: from desperate tragedy to the bite of folk humour.  All five Granados "Tonadillas" glittered like live Goya pictures.
On stage the Spanish musical spirit dominated and I remembered the words of the famous Spanish singer Victoria de los Angeles, "When you sing Spanish music, you must taste blood on your lips..." And that is how it was."

Rasa Jakutytė-Biveinienė,  Muzikos barai, 1998 No. 9-10

"Although the performance was in the Vilnius Town Hall (The Artist's Palace) and was titled "From Gothic to Contemporary", for everyone present it was primarily and simply the chance to meet well known opera soloist and teacher Aušra Stasiūnaitė whom they had been looking forward to... and a chance to be charmed by her voice and appearance as she sang those temperamental and often sad Spanish songs that suit her so well…"

Jadvyga Godunavičienė, Lietuvos žinios, 1998 03 06