Irena Zelenkauskaitė-Brazauskienė (soprano)

Sound recordings
Sound recordings

Irena Zelenkauskaitė-Brazauskienė was born on January 21, 1961. She graduated from Vilnius J.Tallat-Kelpša Higher Music School (now Vilnius College in Higher Education), where she studied singing (1983), and Lithuanian Academy of Music and Theatre where she studied singing with A. Kiselienė (1989).
She won the competition Vilniaus Bokštai (1982) and two National Young Performers Competitions (1983). Since 1992, she has been a soloist at the Lithuanian National Opera and Ballet Theatre.

She has performed together with Lithuanian National Symphony, Lithuanian Chamber and Lithuanian State Symphony Orchestras under the baton of J.Domarkas, J.Aleksa, S.Sondeckis, G.Rinkevicius, J.Franz, J.Basmet, V.Viržonis, R.Geniusas, J.Geniušas, M.Staškus, V.Lukočius and M.Pitrėnas.

In 1998, she was awarded Christophor by Lithuanian Theatre Union.

Oratorios Cantatas Mass

Ludwig van Beethoven

„Missa Solemnis“ op.123

Benjamin Britten

„The World of the Spirit“

Carl Orff

„Carmina Burana“

Giovanni Battista Pergolesi

„Stabat Mater“

Francis Poulenc



Georges Bizet

Carmen (Frascuita)

Benjamin Britten

The Little Sweep (Rovena)

Gaetano Donizetti

Lucia di Lammermoor (Lucia)

Engelbert Humperdinck

Hansel und Gretel (Gretel)

Bronius Kutavičius

The Bear (Julia)

Franz Lehar

Die Lustige Witwe (Valencienne)

Gian Carlo Menotti

The Medium (Monica)

Wolfgang Amadeus Mozart

Don Giovanni (Donna Elvira)

Die Entfuhrung aus dem Serail, K 384 (Blonde)

Cosi fan tutte (Fiordiligi)

Jacques Offenbach

Les Contes d‘Hoffmann (Olympia)

Giacomo Puccini

Gianni Schicchi (Lauretta)

Johann Strauss

Wiener Blut (Pepi)

Giuseppe Verdi

 La Traviata (Violetta)

Rigoletto (Gilda)

Un Ballo in Maschera (Oscar)

Aida (High Priestess)

Don Carlos (Tebaldo)

Nabucco (Anna)

Andrew Lloyd Webber

The Phantom of the Opera (Carlotta)

Carl Maria von Weber

Der Freischutz (Annchen)

Madama Butterfly ,,Dormi amor mio,..."

Concert at the Lithuanian National Philharmonic Hall, 19 11 2008


Song and Dance for piano trio


Seven romances on poems by Alexander Blok, Op. 127 for soprano and piano trio


Piano Trio, Op. 50, "In memory of a Great Artist"

KASKADOS Piano Trio:





Gilda’s part is complicated and the character itself is ‘growing’: at the beginning, we see a girl (analogous to Juliet) and a woman making sacrifices at the end. Irena Zelenkauskaitė has excellently dealt with her vocal task (lately we have to admire appearances of this singer). A clear, transparent voice, perfect technique and meaningful singing of the text. To tell the truth, at the beginning, Gilda seemed to be too infantile; she could have emphasised some hints at her emotional maturity in future already during the first episode. However, the mise-en-scene at Rigoletto’s home, and especially the duo of Gilda and the Duke, was simply enchanting at least due to its scenic solution. Against the slightly glimmering greenish background of the video projection, Gilda and the Duke are swaying on the swings. The effect of swinging is calming anyway, but when you can hear the wonderful, faultlessly performed music of Verdi, you feel as if you are under a spell.

”Juodasis Rigoletas,” Beata Lescinska, 7 Meno dienos, 14 11 2003 No. 589

The theatre has two great Elviras: R.Silinskaite who emphasises dramatic notes (this part is quite unusual in her repertoire) and I. Zelenkauskaite who succeeded in revealing more organically not only dramatic, but also comical aspects of the character.

”Memento mori, Don Giovanni...,” Beata Lescinska, 7 meno dienos, 18 10 2002 No. 539

This was especially remarkable during the third premiere (November 15) when Verdi’s Rigoletto sounded in all strings, and the duos of Rigoletto and Gilda (Irena Zelenkauskaite) simply hypnotised the audience. The particular skill of all parts performed by I.Zelenkauskaite is fascinating, and after her dramatic parts of Lucia and Dona Elvira (Liucia di Lamermour and Don Juan) we now see her Gilda who, as the only ‘positive’ character, may warm up this gloomy and cold atmosphere. The soloist seems to be shaped for this part: unique movements, a clear, volant voice, suggestive nuances, fragility and sincerity were simply melting Rigoletto’s fear and distrust as well as fascinating the Duke. Although Gilda is changing in the opera: a girl turns into a self-sacrificing woman, however, she does not succeed to escape the clutches of destiny and she owns up to her fate. The entire part of the soloist, from its first to its last sound, as if, fuses into an undivided whole.

”Kitas “Rigoletas”,” Justa Adomonyte, Muzikos barai, December 2003 – January 2004