Tadas Girininkas, bass

Biography

Tadas Girininkas was born in Lithuania, he has gained the master’s degree at Lithuanian Academy of Music and Theatre in 2009 (professor V. Prudnikovas).

Among his recent engagements are debut as Filippo II (Don Carlo) at Lithuanian National Opera, his double debut as Fiesco (Simon Boccanegra) at Latvian National Opera in Riga and jump-in as Mephistopheles (Faust) at The Royal Danish Theatre.

In previous seasons he prepared and performed Enrico (Anna Bolena) at Lithuanian National Opera and Ballet Theatre, Wurm (Luisa Miller) at the Essen Alto Theatre and Dolochow and Jacqueau in S. Prokofiev’s War and Peace, Oroveso (Norma), Don Alfonso (Cosi fan tutte) and Bonzo (Madama Butterfly) at the Staatstheater Nürnberg, which he joined for the 2018/19 season. His 2019/20 engagements included Mefistopheles (Faust) and Ramfis (Aida) in St. Gallen. In 2018 he did the debut in Germany as Brogny in La Juive in Konstanz. His 2016/17 season was marked with his debut as Mefistopheles (Faust) at Vilnius City Opera, also singing Cadmus and Somnus in G.F. Händel’s Semele and Oralto in A. Vivaldi’s La fida Ninfa.

In earlier seasons Tadas sang Colline (La bohème), Alexande’s Feast (by Händel), Rocco (Fidelio), and Bartolo (Le nozze di Figaro) at Lithuanian National Opera. At Vilnius City Opera he sang Arkel (Peleas et Melisande) and Angelotti (Tosca). Here he also performs Ferrando (Trovatore), and he has sung the bass solo in C. Franck’s Les Béatitudes. His earlier remarkable debuts include Rocco (Fidelio), De Silva (Ernani) and Heinrich (Lohengrin) at Lithuanian National Opera and Maliuta Skuratov (Tsar’s Bride) at Kaunas State Musical Theatre.

Tadas’ repertoire includes main bass roles such as Zuniga (Carmen), Sparafucile (Rigoletto), Zweiter Geharnischter (Zauberflöte), Johan (Werther), Don Alfonso (Cosi fan tutte), Escamillo (Carmen) Capuletti (Roméo et Juliette), Wagner (Faust), Raimondo (Lucia di Lammermoor), Attila (Attila), Coronte (L’Orfeo) and Seneca (L’incarnaione di Poppea).

In his quickly developing career Mr. Girininkas has worked with conductors such as James Gaffigan, J. Malwitz, Rolf Beck, Gianluca Marciano, José Cura, Marcello Mottadelli, Erki Pehk, Gintaras Rinkevičius, Modestas Pitrėnas or Robertas Šervenikas and such stage directors such as: Dalia Ibelhauptaitė, Jean-Claude Berutti, J. Schmidt, D. Herzog, Anželika Cholina, Andrejs Zagars, William Relton, Teet Kask, Gianni Santucci, Oskaras Koršunovas, Csaba Kael or Gintaras Varnas and cooperated with numerous orchestras such as: Lucerne Festival Orchestra, Aalborg Symphony Orchestra, Budapest Festival Orchestra, Lithuanian National Symphony Orchestra, Lithuanian State Symphony Orchestra, Kaunas City Symphony Orchestra, Sinfonietta Riga.

As oratorio singer he has sung Franck’s Les Beatitudes, Händel’s Alexander’s Feast, Haydn’s Die Jahreszeiten, Missa Brevis and Requiem by Mozart, G. Verdi’s Requiem, Messa di Gloria by Puccini, Schnitke’s Faust Cantate and War Requiem by B. Britten among others.

Girininkas is Opera Soloist of the Year 2013 in Lithuania and was twice (2014 and 2021) awarded with the Golden Stage Cross (the highest theater award in Lithuania).

Calendar
Repertoire
Opera roles

Ludwig van Beethoven

FIDELIO/Rocco

Vincenzo Bellini

I PURITANI/ Sir Giorgio Valton
NORMA / Oroveso

Georges Bizet

CARMEN/Escamillo
CARMEN/Zuniga

Claude Debussy

PELLEAS ET MELISANDE/ Arkel

Gaetano Donizetti

ANNA BOLENA/ Enrico
LUCIA DI LAMMERMOOR/ Raimondo

Friedrich von Flotow

MARTHA/ Tristan

Charles Gounod

ROMEO ET JULIETTE/ Capuletti
FAUST/Mephistopheles
FAUST/Wagner

Georg Friedrich Händel

DEIDAMIA/ Licomede
SEMELE/ Cadmus
Semele/ Somnus

Jules Massenet

WERTHER/Bailli
WERTHER/Johann

Claudio Monteverdi

L'INCORONAZIONE DI POPPEA/Seneca
L'INCORONAZIONE DI POPPEA/Poppea
L'ORFEO/ Caronte

Wolfgang Amadeus Mozart

COSI FAN TUTTE/Don Alfonso
LE NOZZE DI FIGARO/Bartolo
DIE ZAUBERFLÖTE/ 2nd Geharnischter

Otto Nicolai

DIE LUSTIGEN WEIBER VON WINDSOR/ Sir John Falstaff

Sergej Prokofiev

WAR AND PEACE/ Dolochow

Giacomo Puccini

LA BOHEME/Colline
GIANNI SCHICCHI/Simone
MADAMA BUTTERFLY/Bonzo
MANON LESCAUT/ Geronte di Ravoir
TOSCA/Angelotti

Nikolaj Rimskij-Korsakov

THE TSAR'S BRIDE/ Malyuta Skuratov

Camille Saint-Saëns

SAMSON ET DALILA
SAMSON ET DALILA/ Abimelech
SAMSON ET DALILA/ Old Hebrew

Pyotr Ilyich Tchaikovsky

EUGENE ONEGIN/Gremin
THE QUEEN OF SPADES/ Surin

Antonio Vivaldi

LA FIDA NINFA/ Oralto

Giuseppe Verdi

ATTILA/ Attila
ERNANI/ De Silva
LUISA MILLER/ Wurm
OTELLO/ Lodovico
RIGOLETTO/ Sparafucile
SIMON BOCCANEGRA/ Fiesco
IL TROVATORE/ Ferrando

Richard Wagner

DER FLIEGENDE HOLLÄNDER/ Daland
LOHENGRIN/ Heinrich der Vogler
Concert repertoire

Benjamin Britten

War Requiem

Antonin Dvorak

Requiem

César Franck

Les Beatitudes

Georg Friedrich Händel

Alexander's Fiest
La Resurrezione

Franz Joseph Haydn

Die Jahreszeiten

Wolfgang Amadeus Mozart

Grand Mass in C minor

Gioacchino Rossini

Petite Messe Solenelle

Alfred Schnittke

Faust Cantata

Igor Stravinsky

Les Noces

Giuseppe Verdi

Requiem
Review
DON CARLO, Lithuanian National Opera, 2022
7md.lt
The role of Philip II was performed for the first time by Tadas Girininkas. We finally have the King in Lithuania again! The singer not only vividly fulfilled the vocal part, conveyed the dramatic logic of the role, but also returned to the king the feelings, the suffering, and empathy for us. Earlier in this production, the monologue of Philip II sounded as if by the way: we are waiting for it, we expect a certain catharsis, and we get an insensitive intermezzo, which the previous guest singers conveyed without force, without suffering and even without culmination. It’s as if the king is walking monotonously under his nose while walking. I would guess that Mr. Krämer may have even considered abandoning this monologue altogether, as he abandoned the dance scene, which probably seemed too distracting to him from the essential fable. T. Girininkas gave us the opportunity to re-experience the beauty, emotional depth, drama of this monologue and to admire his strong, overtone-rich voice and excellent vocal technique. I wouldn't say that the singer destroyed the director's interpretation - to see a weak, system-obedient king. His emotional, expressive monologue only widened the gap between the ruler and the unhappy aging man. Thus, we have the third great actor of the role of king after V. Daunoras and T. Girininkas' teacher V. Prudnikovas.
ANNA BOLENA, Lithuanian National Opera, 2020
operawire.com
That night, that entire brilliant cast was born again. As queens, and kings, and enamored boys. They were all there. I grew to hate the King (what a horrible blighter as portrayed by Tadas Girininkas!), although the bass sang beautifully, gradually revealing the power of his voice and reaching an incredible severity and volume in the last duet with Anna.
FAUST, Theater St. Gallen, 2019
opernglas.de
Tadas Girininkas, a Mephistopheles of all-embracing stage presence. With the darkness of the timbre, whose metallic alloy and the bronze strength of the intonation, stands the Lithuanian in the best tradition of Eastern European and Russian bass. A stroke of luck is the fact that Girininkas has the agility and the fine-tuning which is needed when one wants Mephistopheles vocally to keep away from the parody in Grand-Guignol style.
NORMA, Staatstheater Nürnberg, 2019
onlinemerker.com
Even the beginning was pleasing when Oroveso's entrance scene with the choir through the full-flowing voice of the Lithuanian Tadas Girininkas got the right weight. With distinctive "basso profundo" and an impressive stage appearance, he gave dignity and presence to this father role, something that not every Oroveso succeeds so naturally.
ERNANI, Lithuanian National Opera, 2015
KULTURKOMPASSET reviews of culture
Tadas Girininkas presented a very beautiful bass voice as Don Rui de Silva.
OTELLO, Opera på Skäret, 2014
Göran Forsling, Seen and Heard International
The sonorous Lithuanian bass Tadas Girininkas makes much of little as Lodovico.
Press Service

Media
G. Verdi - Confutatis maledictis (Requiem)

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