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.

The Truth in the Art of Pretending: La Bohème

Rima Jūraitė, menufaktura.lt

...For G. Bukinė, it seems this evening also marked her debut in the role. Having completed her vocal studies at Vytautas Magnus University Music Academy just three years ago under the guidance of Prof. Sabina Martinaitytė, she 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.

Ascending Through Musical Landscapes

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

Živilė Ramoškaitė

In Bukinė’s performance of Elsa’s Dream from the first act of the opera, the heroine recounts a vision of a knight she saw in a dream—a figure she believes is sent from heaven to defend and love her after she has been falsely accused of fratricide. 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. (For those interested, I would point out that Wagner employs the same A major key in both this Lohengrin aria and the Grail theme from the opera’s prelude.) Bukinė’s warm, beautifully toned voice resonated effortlessly, filling the entire concert hall with its rich timbre.

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.

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.

Fetishistic Stories

Rima Jūraitė, menufaktura.lt

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.

A Different Kind of Opera in Kaunas

Skaidrė Baranskaja, literaturairmenas.lt

The most striking performer was Gabrielė Bukinė as Fiorilla. 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.

She is still very young, having just completed her studies, and Fiorilla, along with Violetta, are her first major roles. It is gratifying to see that the Kaunas theatre places its trust in young local talent, especially in opera.

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.