Girininkas, Tadas - Bass

  To Roster
Ch. Gounod - Ronde du veau d'or (Faust)
More videos


Don Carlo, Lithuanian National Opera, 2022
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
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
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
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
Tadas Girininkas presented a very beautiful bass voice as Don Rui de Silva.
KULTURKOMPASSET reviews of culture
Otello, Opera på Skäret, 2014
The sonorous Lithuanian bass Tadas Girininkas makes much of little as Lodovico.
– Göran Forsling, Seen and Heard International