Born in 1974, Pelaičiai village, Rietavas district, Žemaitija. In 2002 she completed her MA in vocal at the Lithuanian Academy of Music and Theatre (Prof. I.Milkevičiūtė’s class).

Since 2002 she has been a soloist at the Lithuanian National Opera and Ballet Theatre where she debuted as Donna Anna in Don Giovanni by W. A. Mozart.

While still studying she successfully participated in various competitions for vocalists: in 2002 she won the Beacons of Opera (Operos švyturiai) award in the Opera Hope of the Year category. In 2001 and 2002 she won the third prize at the V.Jonuškaitė-Zaunienė Competition. At the competition for Lithuanian vocalists, Operetta, My Love (Operetė - mano meilė), she also won the third prize in 2002. In 2002, at the International Seminar for Vocalists in Beskov (Germany) she was titled as The Best Interpreter. In 2004, J. Gedmintaitė won the Opera Soloist of the Year award for her performance of Rachel in La Juive by J. F. Halévy. Next year the vocalist was granted the honour to represent Lithuanian culture at the Expo 2005 in Japan. In 2014 Joana received the Golden Cross of the Stage for her performance in G. Rossini's opera Il Barbiere di Siviglia.

J. Gedmintaitė often performs together with the Lithuanian National Symphony Orchestra; she has given concerts in Estonia, Japan, France, Sweden, Switzerland, United Kingdom, USA, and elsewhere. She was invited to the prestigious Spoleto Festival USA. Together with the Kanklės Trio of the Lithuanian Art Museum the vocalist toured USA, and she gave concerts in Sweden with Vilnius University Chamber Orchestra. Together with the girls’ choir Virgo the soloist has recorded a CD, and with the Lithuanian State Symphony Orchestra she has prepared the soprano part for W. A. Mozart’s Requiem.

The vocalist has performed memorable characters: Rachel in La Juive by J. F. Halévy, Donna Anna in W. A. Mozart’s opera Don Giovanni, Juliet inRomeo and Juliet by Ch. Gounod, Nedda in R. Leoncavall’s opera Pagliacci (Clowns), Gilda in G. Verdi’s opera Rigoletto. The complex part of Rachel inLa Juive and Mimi in G. Puccini’s La Bohème were particularly positively received both by the audience and the critics. Her repertoire includes many solo parts in symphonies, oratories and cantatas. Since 1997 Joana Gedmintaitė has been the soloist of Trio Grazioso (Viktorija Zabrodaitė – flute, Vilma Rindzevičiūtė – piano). Together with this ensemble the singer has participated in many festivals: Druskininkai Summer with M. K. Čiurlionis,Pažaislis Music Festival, North Lithuania Music Festival Biržai 2004 in the Biržai castle and The Great Parade of Musicians 2006.

However, Joana Gedmintaitė’s Mimi was, perhaps, the most successful. The part of Mimi allowed the soloist to reveal not only the technical possibilities of her voice (and it seemed that her voice did not have any limits), but also its rich psychological depth (which opens her artistic potential wider and wider with each new part). I think the young singer has really reigned in La Bohème. Her soprano acquires crystal transparency in Mimi’s sincere story about flowers and spring. The nuances of extraordinary passion emerge as she sings “Io t'amo! Amor!” (“I love you, oh love!”). In Act Three, when Mimi complains to Marcello we hear intonations of immense pain. Reminiscences of heavenly warmth radiate in Act Four when Mimi, already dying, hums “Che gelida manina...” The artist has discovered and revealed what is hidden between the notes while uncovering emotional layers of Mimi in her interpretation.

Rima Povilionienė, “„Bohemos artistai įtikino dainavimu ir vaidyba” (“Convincing Singing and Acting from the Artists of La Bohème”), Lietuvos rytas, 31 10 2006

Inimitable Juliet Joana Gedmintaitė has demonstrated her perfect vocal fitness. Juliet’s part is complex, requiring a virtuosity of voice in the ‘classical’ sense. A powerful developed coloratura soprano is needed here. This is what I have heard… Gedmintaitė has demonstrated a beautiful velvet timbre of her voice.

Beata Leščinska, “Kauno muzikinio teatro gastrolės Vilniuje” (“Kaunas Musical Theatre Touring Vilnius”), 7 meno dienos, 23 01 2004

Blonde Joana Gedmintaitė is a typical fellow-countrywoman of Sicilians Giovanni Verga, Luigi Capuana and Federico De Roberto! The part of Nedda, perfectly sung and acted (directed by Dalia Ibelhauptaitė), has become her great debut.

Justė Janulytė, “Tikros aistros: ir virtuvėje, ir operoje” (“Real Passion: Both in the Kitchen and in Opera”), Literatūra ir menas, 19 09 2003

My attention was focused on the singer Joana Gedmintaitė. I can say only the most beautiful words about her debut with the folk instrument ensemble Kanklės.

Sigutė Trimakaitė, “Premjeros jubiliejiniame vakare” (“Premieres in an Anniversary Event”), Literatūra ir menas, 22 11 2002

I would call Joana Gedmintaitė who performed Donna Anna the real discovery of the production. Donna Anna’s vocal part is really for a virtuoso: complicated and developed arias coming from the tradition of baroque opera have been written for this character as well as for Donna Elvira and Don Otavio. (…) the strong, flexible soprano with a beautiful timbre has stuck in my mind.

Beata Leščinska, “Memento mori, Don Giovanni...,” 7 meno dienos, 18 10 2002

Our soloists Joana Gedmintaitė (Rachel), Regina Šilinskaitė (princess Eudoxie), Vladimiras Prudnikovas (cardinal de Brogni), Edmundas Seilius (prince Leopold) sang admirably, with one accord, perhaps the way the conductor Jonas Aleksa or the director had suggested.

Edmundas Gedgaudas, “Halévy operos „Žydė″ premjera” (“Premiere of Halévy’s Opera La Juive”), 7 meno dienos, 22 10 2004

I would call Joana Gedmintaitė’s Nedda a success. Firm peaks, a flexible voice, musical intonations and the sound obtained, it seems, without any particular effort: all this has demonstrated the skill of the young singer (this is, perhaps, the school of J. Gedmintaitė’s teacher Irena Milkevičiūtė) and at the same time, a great potential for development. On the other hand, J. Gedmintaitė not only sang: she conveyed the drama through her voice.

Beata Leščinska, “Nauji solistai rudeniniuose „Pajacų″ spektakliuose” (“New Soloists in Autumn Shows of Clowns”), 7 meno dienos, 19 09 2003

Already the first phrases performed by the singer gripped our attention focusing on immensely stylish and nuanced virtuoso singing and wonderfully beautiful timbre. The opera was performed in Lithuanian, but J. Gedmintaitė managed to convey a specific French spirit through her interpretation. The soloist says that it has been her dream to perform Juliet’s part, and after the performance she admitted that she simply lived in this role. We could feel this on the stage.

Beata Leščinska, “Charles`o Gounod operos „Romeo ir Džuljeta″ premjera Kaune” (“The Premiere of Charles Gounod’s Opera Romeo and Juliet in Kaunas”), 7 meno dienos, 23 05 2003

J. Gedmintaitė has revealed the musical character of expressively fragile and lyrical Mimi through a perfect command of her voice.

Rita Aleknaitė-Bieliauskienė, “„Bohema Kongresų rūmuose” (“La Bohème in Congress Palace”), 7 meno dienos, 10 11 2006

Joana Gedmintaitė, who performed the principal role, has created this character immediately after her main part in La Juive by Halévy. In the opera by Dvarionas we have also seen a remarkable character and heard beautiful, resonant singing.

Beata Leščinska, “Balio Dvariono „Dalios premjera” (“Premiere of Dalia by Balys Dvarionas”), 7 meno dienos, 10 12 2004