Rasa Vosyliūtė graduated from Lithuanian Academy of Music and Theatre in 1995 and was awarded music licenciate in 1997. She studied with Prof. Raimundas Katilius. While still at the Academy, she was a member of the world youth orchestra Jeunesses Musicales (1992); she attended a chamber music master class in Sweden (1994), a violin solo master class in Finland (Prof. V. Vaidman and L. Melnikov), also master classes in Druskininkai (Prof. O. Pomerancaitė and Prof. R. Katilius), at Hochschule für Musik ‘Hanns Eisler’ Berlin (G. Kremer) and Lockenhaus Chamber Music Festival (T. Grindenko).
R.Vosyliūtė won the second prize at the Heino Eller International Violin Competition in Tallinn (1996). In 1997, she joined the Guildhall School of Music and Drama in London where she studied with Prof. Y.Neaman, and after graduating, she was awarded a diploma with distinction. While studying in London she organised a quartet, which won the first prize at the Guildhall School of Music and Drama competition.
R.Vosyliūtė debuted as a soloist in 1995 when she performed J.Brahms’s Concerto for Violin together with the International Baltic Youth Orchestra under the baton of J.Aleksa. She has also performed solo together with Lithuanian National Symphony Orchestra, LAMT Chamber Orchestra, St.Christopher Chamber Orchestra of Vilnius, Chamber Orchestra of Klaipėda, Estonian National Symphony Orchestra, Tallinn Chamber Orchestra and German Nordrhein-Westfalen Youth Chamber Orchestra. She has given recitals in London, Brussels, Washington, Paris and Vilnius (Hall of LAMT, Vilnius City Hall, Lithuanian National Philharmonic, and Museum of Applied Arts). She has been giving a recital with a new programme in Vilnius every year. R.Vosyliūtė’s permanent partner is Eglė Vosyliutė, but she has also performed together with Petras Geniušas, Leonid Dorfman, Golda Vainberg-Tatz, Arunas Staškus and others.

In 2001, together with her colleagues – former students of Prof. R.Katilius, R.Vosyliūtė organised the Raimundas Katilius Violin Quartet. The quartet has successfully performed in Upbeat Festival in Scandinavia: Norway, Sweden, Finland, Estonia and Latvia; it also has given concerts in London and Berlin.

Since 1997, Rasa is a member of the chamber orchestra Kremerata Baltica with which she has been touring around the world.
In 2005, together with G.Dirvanauskaitė, R.Vosyliūtė recorded A.Honegger’s Sonata for Violin and B.Martinu’s Duo for Violin and Cello for Lithuanian National Radio. In 2001–2004, she worked as a lecturer at the Lithuanian Academy of Music and Theatre and took over Prof. Raimundas Katilius’s class after his death.

Moreover, the intriguing programme started with Czech composer Leoš Janaček’s (1854-1928) Sonata for Violin and Piano in four parts [...]. Sonata, due to the stable and temperamental performance of R. Vosyliūtė and A. Staškus, revealed the characteristics of the artist’s composition: the search for harmony, the change of mood, expression of complicated technical episodes… Three myths: La fontaine d’Arethuse, Narcisse and Dryades et Pan were interpreted in a subtle way, sensitively, with a specific touch infusing the music with unexpectedness, mystery and, simultaneously, illustrative elements. The duo of R. Vosyliūtė and A. Staškus was fascinating: the wide dynamic amplitude and the development of musical idea [...]. Thus, the impression of the 20th century New Europe experienced in the concert would be this: thanks to great musicians, musical opuses that were performed in a rich, sometimes phantasmagorical, sound reminded again of themselves ‘asking’ to be performed more and more, so that they would sound differently every time. Like impressions plunged into the flow of time, but not fading…

Vitalija Mockutė, “Sauletekio ispudis,” Muzikos barai, January - February 2005

It has been long since the duo of E. and R. Vosyliūtė performed together; it is marked, one could say, by an especially close relationship between the performers, an almost identical musical thinking: this creates the impression of a perfect ensemble both for the performers and for the listeners. All this could be heard when they performed The First Sonata for Violin and Piano G-Major op. 78 by Johannes Brahms. The specific timbre of the instrument characteristic to this violinist was remarkable in the latter opus as well as during the concert: the ability to obtain a penetrating, intensive, strongly suggestive and magnetising sound. [...] However, due to the aforementioned identity of positions between the two performers: the identical intonation towards climaxes, integral phrasing, perfect synchronism even in the tiniest twists of rhythm and the composition sounded especially smooth. [...] At the end of the first part of the concert, we heard the ensemble of R. Vosyliūtė and G. Dirvanauskaitė: Bohuslavo Martinů’s Duo for Violin and Cello No. 1 in two parts [...]. The string duo was equally fascinating: as if, just one musician was performing. The ensemble quality of performers was fully revealed by Antonin Dvorak’s Trio for Piano, Violin and Cello f-minor, op. 65. Although in some parts, for instance, in the second part, it was possible to disagree with the solution of tempo – Allegretto grazioso sounded slightly hasty, more espressivo than grazioso – but precise intonations of strings in unison segments, perfect octaves and a sense of continuity in the huge four-part cycle was the evidence of a technically perfect, really motivated and professional interpretation. One could only wish that this ensemble offered programmes marked by unquestionably high skill and artistry in future.

Rima Povilionienė, “Kameriniame koncerte – trys jaunos muzikes,” Muzikos barai, February–March 2004

The end of the evening throws us again from 2003 back to 1985–1988. The chain of musical opuses ends with Bachvariationen I, which has become a real gem of the evening due to the impressive interpretation by Raimundas Katilius Violin Quartet (Džeraldas Bidva, Rasa Vosyliūtė, Rūta Lipinaitytė, Marija Nemanytė). To forestall the impression, Mindaugas Urbaitis has not been wrong in saying that violinists from Kremerata have prepared the opus, which they themselves discovered, excellently. One could agree with his words that new performers can change an old opus fundamentally. The newly discovered old is much more effective, if the performers also astound with their skill.

Skirmantė Valiulytė, “Is to, kas nepasakyta,” 7 meno dienos Nr.585

The complicated Sonata by A. Honegger has been, it seems, sufficient to convince us that the violinist thinks in solo categories: she wants to articulate clearly, she succeeds in revealing suggestively the form. In the complicated, rich A. Honegger’s musical fabric, the violinist managed to track the pulse of the live flow, to reveal the specifics of all four parts, integrate fluently neoclassical features of the composer’s thinking. The performers follow different paths towards emotionalism, and gradations of emotionalism seem to be especially important for R. Vosyliūtė; thus, she tends to see specifically into this area. Obvious evidence to this is the interpretations of other opuses in the programme suggested by the string quartet with R. Vosyliūtė as its primarius.

Vytautė Markeliūnienė, “Ansamblio debiutas,” 7 meno dienos 2002 10 18