Ausrine Stundyte

Soprano

Lithuanian soprano Ausrine Stundyte, described as “an intense artist of truly expressionist proportion” (Opera Today), stands among the most compelling singing actresses of her generation — an artist whose fearless stage presence, acute musical intelligence, and raw emotional exposure have redefined the boundaries of operatic performance.

Stundyte’s 25/26 season begins with the Royal Ballet & Opera’s first ever production of The Makropulos Affair by Katie Mitchell, conducted by Jakub Hrusa. She then returns to the Wiener Staatsoper and Staatsoper Hamburg for one of her signature roles, Elektra which she later performs in concert at Dresden Philharmonie. Other engagements include Kundry Parsifal in Caracas and the world premiere of Reinvere’s Das Lied von den zwei Erden with the Bayerisches Rundfunkorchester and Matthias Pintscher.

Last season featured performances of Schoenberg’s Erwartung at the Salzburg Festival and Grand Théâtre de Genève; Stundyte’s role debut as Polina in Prokofiev’s The Gambler at Stuttgart Opera; Judith in Bartok’s Bluebeard’s Castle at Philharmonie de Paris; and as Nastasya Filippovna Barashkova in Weinberg’s The Idiot at Salzburg Festival.

 

Other recent engagements include Schoenberg’s Erwartung with Eun Sun Kim and the Berliner Philharmoniker; Emilia Marty The Makropulos Affair (Opéra de Lyon); Calixto Bieito’s production of Orgia (Gran Teatre del Liceu, Teatro Arriaga); Judith Bluebeard’s Castle (Lithuanian National Opera, Salzburg Festival, Opéra national de Paris, Teatro La Fenice); Tosca (Royal Ballet & Opera); Elektra (Wiener Staatsoper, Accademia Nazionale di Santa Cecilia, Staatsoper Hamburg, Salzburg Festival); Kát’a Kabanová (Bergen National Opera); Lady Macbeth of Mtsensk (Opéra national de Paris, Grand Théâtre de Genève); The Fiery Angel (Teatro Real, Theater an der Wien, Festival d’Aix-en-Provence, Bayerische Staatsoper and Opernhaus Zürich); Tristan und Isolde (Opéra de Lyon); Die tote Stadt (Oper Köln); and Salome (Wiener Staatsoper, Dallas Symphony Orchestra).

Stundyte collaborates regularly with some of the most renowned directors and conductors including Calixto Bieito, Krzystof Warlikowski, Dmitri Tcherniakov, Sir Antonio Pappano, Franz Welser-Möst, Fabio Luisi and Eun Sun Kim.

In 2024, Pentatone released Zemlinksy’s Eine florentinische Tragödie which was recorded at Dutch National Opera and conducted by Marc Albrecht. The album was awarded the Opus Klassik Prize.

Performances

FEBRUARY 16 2026

Emilia Marty; The Makropoulos Case; Opéra de Lille

Buy Tickets

MARCH 12 2026

Title Role, Elektra; Dresden Philharmonie

Dresden, Germany

Buy Tickets

MARCH 15 2026

Title Role, Elektra; Dresden Philharmonie

Dresden, Germany

Buy Tickets

APRIL 14 2026

Title Role, Elektra; Staatsoper Hamburg

Hamburg, Germany

Buy Tickets

APRIL 19 2026

Title Role, Elektra; Staatsoper Hamburg

Hamburg, Germany

Buy Tickets

More Dates

Performances

FEBRUARY 16 2026Emilia Marty; The Makropoulos Case; Opéra de LilleBuy Tickets
MARCH 12 2026Title Role, Elektra; Dresden PhilharmonieDresden, GermanyBuy Tickets
MARCH 15 2026Title Role, Elektra; Dresden PhilharmonieDresden, GermanyBuy Tickets
APRIL 14 2026Title Role, Elektra; Staatsoper HamburgHamburg, GermanyBuy Tickets
APRIL 19 2026Title Role, Elektra; Staatsoper HamburgHamburg, GermanyBuy Tickets
MAY 1 2026Title Role, Elektra; Staatsoper HamburgHamburg, GermanyBuy Tickets
MAY 8 2026Title Role, Elektra; Staatsoper HamburgHamburg, GermanyBuy Tickets
MAY 23 2026Parsifal (excerpts); Caracas
JUNE 12 2026Concert; Bayerisches RundfunkorchesterMunich, GermanyBuy Tickets

Press

The Lithuanian soprano Ausrine Stundyte, very expressive physically and vocally, masters her voice to create poignant atmospheres in “Suicide” and infinite sadness in “The Death of the Poet” which takes up the theme of Dies irae. Her pianissimo are like a scalpel sinking into the flesh, and her interpretation of evil and fatalism in “Les Attentives” is visceral.

Cult News

Ausrine Stundyte sings this with flaming intensity – it really gets under the skin. She tigers over the stage, lies on the ground, runs, freezes – gestures that speak, grandiose in terms of art.

BR Klassik

Lithuanian soprano Ausrine Stundyte was outstanding in the hugely demanding role of Emilia Marty which she sang with great beauty and power. As Janacek’s complex music grew in intensity, she seemed to increase in strength, matching the musical requirements all the way.

Express

Lithuanian diva soprano Ausrine Stundyte delivered the Erwartung poem. Stundyte is an intense artist of truly expressionist proportion. As the Erwartung voice she embodied high operatic suffering in truly operatic stances.

Opera Today

At the centre of it all is a magnificent, magnetic performance from Ausrine Stundyte as Emilia Marty, imperious yet not invulnerable. Her voice soars above the orchestra even as Jakub Hrůša’s conducting draws out the deep contrasts and bright colours of Janáček’s score, given in an unbroken, 90-minute stretch.

 

The Guardian

Releases

Zemlinsky: Eine florentinische Tragödie
Hindemith: Mathis der Maler
Prokofiev: The Fiery Angel
Weinberg: The Idiot

MWA