Longing for Love and Art

Giacomo Puccini's "La Bohème" at the Kaunas State Musical Theatre

Živilė Ramoškaitė

Gabrielė Bukinė performed Mimi not only with excellent vocal quality but also with extraordinary emotional depth, giving each phrase the appropriate expressive nuance. The aria in the first act and scenes with Rodolfo, as well as the beautiful final duet with the high C, were delivered flawlessly. It appears that the role of Mimi is exceptionally well-suited to Gabrielė's voice. Her subtle acting was captivating, as was her effort to imbue Mimi's character with the utmost tenderness and femininity... Learn More

The Truth in the Art of Pretending: La Bohème

Rima Jūraitė

G. Bukinė stormed onto Lithuania's opera stages suddenly and with remarkable maturity—there was no need for a gradual introduction through minor roles.

Today, G. Bukinė stands out in Lithuanian opera not only for the softness and fluidity of her voice, and an astonishing artistic maturity, but also for her innate gift of sensitivity—both vocally and through her precise body language. Authenticity, truth—these are the natural Puccinian qualities she possesses, ones that cannot simply be learned. Bukinė’s Mimi is full of color, illuminating her duets with Rodolfo, inviting and responding to dialogues with delicate emotional nuance... Learn More

Ascending Through Musical Landscapes

Lithuanian State Symphony Orchestra’s 35th Anniversary Concert with Wagner and Strauss

Živilė Ramoškaitė

The aria, demanding strong technique, a rich palette of vocal colors, and dynamic nuances, was delivered with clarity and conviction -the young soloist performed with confidence and ease.

A particularly delightful surprise came right from the opening phrase—a delicately sung melody, beginning in the upper tessitura with a soft piano dynamic. Bukinė’s warm, beautifully toned voice resonated effortlessly, filling the entire concert hall with its rich timbre... Learn More

A Realistic Triptych

Premiere of Giacomo Puccini’s Three One-Act Operas at the National Opera and Ballet Theatre

Živilė Ramoškaitė

Angelica is the central role in this opera, performed by two soloists: Gabrielė Bukinė on the first evening and Viktorija Miškūnaitė on the second. The singers have distinct vocal qualities and acting approaches. Bukinė once again stood out for the beauty and resonance of her sound, refined vocal technique, and precise intonation. She shaped long phrases with a beautiful legato, adding the necessary color and depth of meaning. Her rendition of the pivotal aria "Senza mamma" was remarkably precise and genuinely moving. The final scene, featuring the descent of her son "from heaven," was deeply touching... Learn More

A Realistic Triptych. Post Scriptum

Seventh Performance of Giacomo Puccini’s Three One-Act Operas at LNOBT

Živilė Ramoškaitė

In the second opera, Suor Angelica, I noticed the music gaining more fluidity, the mise-en-scène becoming more compelling, and changes in stage action adding to the overall impact. The choral artists’ lines were delivered with greater precision and expressiveness.

Gabrielė Bukinė, just as in the first premiere, performed exceptionally well. She convincingly portrayed the scene with the Princess and delivered a deeply moving finale... Learn More

Fetishistic Stories

Rima Jūraitė

For me, Bukinė has been the greatest discovery on the opera stage this year. Despite still being an LNOBT trainee and a very young soloist, she never skimmed the surface in this intense, visually striking production. With sensitive vocal expression, precise body language, and refined acting, she conveyed deep psychological characterization... Learn More

A Different Kind of Opera in Kaunas

Skaidrė Baranskaja

An excellent voice paired with outstanding technique—especially considering that this is Rossini, this is bel canto. Her voice resonates beautifully, unfolding its full potential, with ornaments that are effortless and fluid... Learn More

The Opera of a Renowned Debutante Shines with Elegance

Asta Andrikonytė

It is symbolic that Sabina Martinaitytė’s student, Gabrielė Bukinė, who has long embodied Violetta on the Kaunas stage, continues the century-old Traviata tradition at the Kaunas State Musical Theatre. With her strong, beautifully toned soprano, impressive technical capabilities, compelling stage presence, and delicate appearance, she makes a serious statement for a successful career as Violetta... Learn More

Gabrielė Bukinė’s Triumph at the KVMT Premiere

Adriana Lecouvreur

Justina Paltanavičiūtė, musicologist

Remaining at the center of intense events and musical developments throughout all four acts is no easy task; however, it seemed that for G. Bukinė this was not only accomplished brilliantly, but also came entirely naturally… G. Bukinė set the bar very high for her fellow stage colleagues... Learn More

Music Theatre Events in September and October

Adriana Lecouvreur

Tiiu Levald

The ear was pleased by the high vocal standard of all the performers. G. Bukinė’s voice unfolded in the timbral colors of a lyric-dramatic soprano, the character’s inner struggles were conveyed compellingly, and the opera’s final scene was striking… Learn More

An Explosive Production

Le Nozze di Figaro

Rima Jūraitė

…On the other hand, Gabrielė Bukinė, who has been leading the way on Lithuanian opera stages in recent years and is simply unrivalled among the new generation of opera singers, portrayed Countess Rosina. Whatever role she takes on, her voice always sounds focused, fresh, and at the same time remarkably mature — even when she sings while munching on potato chips, as she does in this Le Nozze di Figaro. Her Rosina, therefore, bore little resemblance to the traditional operatic lady experiencing the twilight of love; instead, she appeared as a desirable woman who knows her own worth and, unquestionably, the wisest heroine of this soap opera… Learn more

Once Again on the Magic of Opera

Madama Butterfly Returns to LNOBT

Gabrielė Bukinė created a vivid and memorable portrayal of Cio-Cio-San, both musically and dramatically. Through her voice, she succeeded in conveying the young geisha’s journey through fate’s trials — from the striking naivety, tenderness and faith in her future “husband” in the first act to the final tragedy, when she chooses death. In my view, Bukinė also handled the specific gestures of the hands, movements of the head and body, and, importantly, the character’s interaction with objects particularly well. The way she acted and sang the intimate scene with the box containing Cio-Cio-San’s most treasured little possessions, which she shows to her future husband, came, in my opinion, close to the original interpretation created by Irena Zelenkauskaitė under Choa’s direction. Incidentally, I also had the opportunity to hear Zelenkauskaitė herself express a similarly favourable opinion. The first-act love duet with Karolis Kašiuba sounded superb, as did the famous second-act aria, the duet with Jovita Vaškevičiūtė as Suzuki, and the tragic finale, in which the full power of Bukinė’s voice was revealed... Learn more