• Plans of Lithuanian soprano Ausrine Stundyte include both Schönberg’s Erwartung and Purcell’s Dido and Aeneas in Munich as well as her debut in the title role of Katya Kabanova, in Bergen.

    2024 are scheduled, among others, Tosca at the Royal Opera House Covent Garden in London, Héctor Parra’s Orgia in Barcelona, her debut in the part of Emilia Marty in The Makropulos Case in Lyon, and a new production of Respighi’s La Fiamma at the Deutsche Oper Berlin.

    2025 are planned her debut in the part of Färberin in Die Frau ohne Schatten in Amsterdam and her return to the Vienna State Opera for Elektra.

    Her debut at Salzburg Festival 2020 in the title role of Elektra conducted by Franz Welser-Möst has been one of the artist's most outstanding projects of the past seasons, highly acclaimed by both press and audience. She returned to Salzburg for Judit in Duke Bluebeards Castle in Summer 2022.

    Highlights of recent seasons include Lady Macbeth of the Mtsensk District in Geneva, Paris directed by Krzystof Warlikowski, in Lyon staged by Dmitry Tcherniakov and conducted by Kazushi Ono and in Antwerp under Dmitri Jurowski and staged by Calixto Bieito; a double bill of Schönberg’s Erwartung and Purcell’s Dido and Aeneas in Munich, Jeanne in Penderecki’s The Devils of Loudun in Munich, Renata in The Fiery Angel in Madrid, at the Theater an der Wien, at the Festival of Aix-en-Provence, in Warsaw, in Zurich staged by Calixto Bieito and conducted by Gianandrea Noseda, in Munich conducted by Michail Jurowski and in Lyon conducted by Kazushi Ono; a concert performance of the 2nd act of Tristan und Isolde in Lyon, the title role in Strauss’ Elektra both at Salzburg Festival and in Hamburg, a new production of Korngold’s Die tote Stadt at Oper Cologne, Regan in a new production of Reimann’s Lear in Munich, Judit in Duke Bluebeard’s Castle in Venice staged by Calixto Bieito at Komische Oper Berlin, the title role of Salome at the state operas of Vienna and Berlin as well as in Bologna and Dallas,  Hindemith’s Sancta Susanna in both Baltimore and Vienna, Heliane in Korngold’s Das Wunder der Heliane at Bard Summer Escape and in Antwerp, José Maria Usandizanga’s Basque folk opera Mendi Mendiyan directed by Calixto Bieito in Bilbao and San Sebastian, Tosca in Helsinki, Seattle and São Paulo, Carlotta in Schreker’s Die Gezeichneten at Komische Oper Berlin, Heliane in Korngold’s Das Wunder der Heliane in Antwerp, Bianca in Zemlinsky’s Eine florentinische Tragödie in Amsterdam, Catalani’s Loreley at St. Gallen Festival, Venus in Tannhäuser staged by Calixto Bieito in Venice and Antwerp, Montezuma in Rihm’s Die Eroberung von Mexiko in Peter Konwitschny’s production in Cologne and Madrid, Leonore in Fidelio in concert performances in Israel and fully staged at Vienna Volksoper and in Florence under Zubin Mehta, Chrysothemis in Elektra in Antwerp, the title role in La Gioconda in St. Gallen or Cio-Cio-San in Puccini’s Madame Butterfly at the Savonlinna Opera Festival and in Seattle.

    Ausrine Stundyte started her career with appearances at Opera Leipzig and as a member of the ensemble of Cologne Opera, she guested in Essen, Lübeck, Lisbon or as Sieglinde in Die Walküre in Palermo.

    Born in Vilnius, Aušrine Stundyte studied voice at the Lithuanian Music Accademy with Prof. Irena Milkeviciute and at Music and Theater Accademy in Leipzig with Prof. Helga Forner.

    She received several scholarships and awards.

    She is working with conductors such as Gianandrea Noseda, Zubin Metha, Fabio Luisi, Jeffrey Tate, Julia Jones, Julian Kovatchev, Marco Armiliato, Dmitri Jurowski, Markus Stenz or Gabriel Feltz and with stage directors like Calixto Bieito, Robert Carsen, Peter Konwitschny, Barry Koski, Graham Vick, David Alden, Christof Nel, Pierre Audi, Tatjana Gürbaca or Anthony Pilavachi.

    She sings a large concert and lied repertoire, which she performes at Gewandhaus Leipzig, at the Philharmonie of Cologne and Essen as well as in several concert halls in Tokyo.

    With MDR Orchestra Leipzig she recorded songs by Hermann Heyer.


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