Tadas Girininkas, born in Lithuania, earned his Master’s degree at the Lithuanian Academy of Music and Theatre in 2009 (class of Prof. V. Prudnikovas).
In the 2025/26 season he is singing Albano in a new production of Ponchielli’s opera I Lituani (staged by Hugo de Ana) at the Lithuanian National Opera, Timur (Turandot), Leporello (Don Giovanni), Banco (Macbeth), König Heinrich (Lohengrin), Bottom (A Midsummer Night’s Dream), and Jesus (Johannes-Passion), among others. Recent highlights include his debut as Filippo II (Don Carlo) at the Latvian National Opera, Leporello in a new production of Don Giovanni at the Lithuanian National Opera, and Händel’s Messiah at the Pažaislis Music Festival.
Earlier seasons brought debuts as Sparafucile (Rigoletto) in Las Palmas, Don Magnifico (La Cenerentola), Ramfis (Aida) in Vilnius and St. Gallen, and King Roger at the Pažaislis Music Festival. He has also sung Fiesco (Simon Boccanegra) in Riga, Mephistopheles (Faust) in St. Gallen and Copenhagen, Enrico (Anna Bolena), Wurm (Luisa Miller), and major roles at the Staatstheater Nürnberg, including Don Alfonso (Così fan tutte), Oroveso (Norma), and Bonzo (Madama Butterfly).
His repertoire includes Colline (La bohème), Rocco (Fidelio), De Silva (Ernani), Zuniga (Carmen), Raimondo (Lucia di Lammermoor), Escamillo (Carmen), Attila (Attila), Seneca (L’incoronazione di Poppea), among many others.
Girininkas has collaborated with conductors such as Daniel Oren, Trevor Pinnock, James Gaffigan, Modestas Pitrėnas, and stage directors including Franco Zeffirelli, Jan Philipp Gloger, and Jean-Claude Berutti. He has performed with the Lucerne Festival Orchestra, Budapest Festival Orchestra, Lithuanian National Symphony, State Symphony, and others.
As an oratorio soloist he has appeared in Franck’s Les Béatitudes, Händel’s Alexander’s Feast, Haydn’s Die Jahreszeiten, Mozart’s Requiem, Verdi’s Requiem, Puccini’s Messa di Gloria, Schnittke’s Faust Cantata, and Britten’s War Requiem.
Tadas was named Lithuania’s Opera Soloist of the Year in 2013 and twice received the Golden Stage Cross, the country’s highest theatre award (2014 and 2021).
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.
– 7md.lt
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.
– operawire.com
https://operawire.com/lithuanian-national-opera-2020-21-review-anna-bolena/
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.
– opernglas.de
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.
– onlinemerker.com
https://onlinemerker.com/nuernberg-staatstheater-norma-mit-meistersingerin/
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
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