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“The singer has a beautiful voice and is very talented, sensitive and musical. I think that all these qualities will open the way to the world’s stages for her.”
Kazimierz Kord
“It was a great pleasure to hear the soprano Asta Krikščiūnaitė, and I am impressed with how a beautiful voice, excellent musicality and lovely stage presence are combined in her person.”
Anton Guadagno
“The Lithuanian singer’s voice has a wonderful timbre, and her singing technique is of the highest quality. Her voice seemed to be ideally suited to convey Elisabetta’s drama.”
Annelė Remme
“The Lithuanian singer Asta Krikščiūnaitė charmed the audience at the Estonia Theatre with her title role in Puccini’s Suor Angelica. The possibilities of her voice are really impressive: it ranges from tender lyricism to deep dramatism.”
Mare Pöldamäe
“I was the first in Poland to be lucky to hear Asta Krikščiūnaitė. This time I once again realised how beautiful her soprano and how perfect her singing are. And Audronė Kisieliūtė is just a wonderful accompanist!”
Ryszard Ostromęcki
“Artistic interpretation of the highest calibre, delightful and tastefully chosen programme, and perfect understanding between the singer and the accompanist made the concert really significant. Both musicians are inclined to mature their interpretations and not to plunge into the swirl of poly-stylistic influences, and that is why their most recent concert programme displayed the sense of understanding, authenticity, wit and conceptuality.”
Vytautė Markeliūnienė (“In a Spirit of Tender Association”), 7 Meno Dienos, 2002 (Lithuania)
“That evening Asta Krikščiūnaitė set the tone for singing of the highest quality. The beautiful timbre of her voice, which sounded evenly in all registers, her subtle phrasing and restrained acting reached the climax in Elisabetta’s aria (3rd act), which received a storm of applause and bravo calls.”
Viktoras Gerulaitis (“Two Debuts and a Wind Band at the Opera”), Lietuvos Rytas, 4 April 2000 (Lithuania)
“It has been a long time since I have heard a concert of such a high standard as tonight. It reminded me of performances by the celebrated chamber singers Luis Marchall and Irina Arkhipova. (…) The concert was exciting not only because of an especially subtle programme with no cheap effects, but also because the singer Asta Krikščiūnaitė and the pianist Audronė Kisieliūtė were a superb ensemble. On a chamber stage, the singer Asta Krikščiūnaitė feels perfectly at home, and every composition she performs becomes a little poem. Krikščiūnaitė’s chamber music performances display her best qualities as an interpreter: subtlety, sensitivity, musicality and vocal culture. It was a concert of the highest calibre.”
Mati Palm (“A Concert of the Highest Calibre”), Den za Dnyom, 25 April 2003 (Estonia)
“Asta Krikščiūnaitė’s soprano has a very lovely tone. She is immensely musical and has a perfect vocal technique. And she is also very expressive.”
Wiesław Ochman (from “Ovations for Lithuanian Musicians” by Edita Degutienė), Lietuvos Aidas, No. 82, 29 April 1998
“The concert, which took place the day before, caused no problems in relation to accepting music and feeling it the right way. Asta Krikščiūnaitė and Audronė Kisieliūtė (soprano and piano) performed four Italian songs by Schubert and entirely different compositions by Richard Strauss. There was achieved unbelievable harmony between style and emotional interpretation. Freshness and spontaneity. And no sign of hysteria, which is often present in performances of music full of tremendous emotional strain (here I mean some Strauss songs). With her powerful voice, Krikščiūnaitė did not become a roaring volcano, as it might happen to some other singer in a church acoustic. Everything sounded naturally, just as a par excellence dramatic voice has to sound. It radiated a brilliance that encouraged you to think about great operatic roles. Here is the opinion of a critical connoisseur from Germany: ‘This is a great Wagnerian singer.’”
Edmundas Gedgaudas (“Afternoons and Evenings in Nida”), 7 Meno Dienos, No. 578, 25 July 2003
“It is true to say that Asta Krikščiūnaitė, who recently very often appears with the Kaunas State Choir, has become a key figure in oratorio performances, and her refined voice – the most beautiful ornament in compositions of this genre. Once again, many listeners were most moved by those episodes in the Messa per Rossini, where Krikščiūnaitė’s voice sounded naturally and chamber-like.”
Alina Ramanauskienė, (“The Anniversary Exhibition Launched”), Kauno Diena, 24 January 2004
“This concert was concluded with six songs by Richard Strauss, sung by Asta Krikščiūnaitė (accompanied by Audronė Kisieliūtė). The harmony between a refined voice, intelligence and creativity was just admirable. I will finish with a (rhetorical?) question: When will we see this outstanding singer on our main opera stage?”
Edmundas Gedgaudas (from the answers to the question, “What impressed you most in 2003?”), 7 Meno Dienos, No. 595, 26 December 2003
“What was really magical was the singer’s sincere openness, which seemed to come from the bottom of her heart: this was truly entrancing. When Asta Krikščiūnaitė sings, as though having forgotten everything in the world and with her eyes shining, lovely overtones are heard in her voice, which is delicately complemented by the accurate and perfectly balanced piano accompaniment of her regular stage partner, Audronė Kisieliūtė. With this duo, the piano always plays at the proper place and time, sometimes leading and sometimes following, with the appropriate dynamics and an expressive characteristic detail.”
Živilė Ramoškaitė („Allured by the Wings of Songs“), Muzikos Barai, April 2002
“The music of the cantata is full of dramatic tension, a major burden of which falls on the vocal part. This was performed by the singer Asta Krikščiūnaitė, who accurately and distinctly conveyed every dramaturgical detail, treading through deep layers of the sophisticated harmony safely and steadily, as though competing with the orchestra. It is true to say that, from a vocal point of view, it was due to Krikščiūnaitė’s dramatic forcefulness that this work became a kind of mono-opera.”
Tomas Bakučionis (“Two Weekends with the Lithuanian National Symphony Orchestra”), Muzikos Barai, No. 12, December 2003/January 2004
“One has to honestly admit that Asta Krikščiūnaitė’s first interpretation of Richard Strauss was up to the mark. Moreover, I could even add that, if assessed in the Lithuanian context, it was very good. It was the combination of the timbre of her voice and this sensual secessionist music that was especially successful: great sensitivity with a wealth of shades emanated from her voice. The singer has a good sense of the style and perfectly understands the poetical expression of these songs. This performance brought me a great pleasure, and I sincerely congratulate the singer on choosing her own path.”
Živilė Ramoškaitė (“After a Tour: The Closing Concert of the Season”), 7 Meno Dienos, No. 380, 12 May 1999
“When listening to the duo, there was not a shadow of doubt that both performers match each other perfectly in terms of personality and artistic aims, and that this makes their collaboration especially fruitful. This is probably why Asta Krikščiūnaitė’s programmes are always so interesting, original and not over sung by others. And what an impassioned and mature performance, complemented with the singer’s own thoughts …”
Živilė Ramoškaitė (“Asta Krikščiūnaitė Changes Her Repertoire”), Muzikos Barai, October 1998
“Four colourful and pictorial Scottish and Welsh songs by Haydn were performed by the guest trio together with Asta Krikščiūnaitė, on the beauty and clarity of whose voice one could write a treatise. She succeeded in conveying the different characters and moods of the songs.”
Tadas Tauras (“The Delicacies of the Traditional and Unconventional String Trio”), Lietuvos Rytas, No. 68, 22 March 1996
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