Lithuanian soprano Ausrine Stundyte is unapologetically unafraid to confront the darker aspects of her own life, which she believes gives her an edge in playing complex and challenging female characters on stage.
Stundyte's views on feminism are far from conventional - despite not identifying as a feminist, she insists that women have made significant progress in terms of equality and opportunities. However, she is critical of the way some women perceive themselves as victims, which she sees as undermining their own power.
The soprano has always been drawn to intense, dramatic roles that allow her to tap into her emotional depths. Her most recent casting in Leoš Janáček's The Makropulos Case has raised eyebrows due to its complex and challenging portrayal of a 300-year-old woman. Stundyte tackles the role with relish, drawing on her own experiences of feeling empty and unfulfilled after achieving success.
For Stundyte, playing these characters is not just about technical skill but also about emotional authenticity. Her past struggles with depression and unhappiness have given her a unique insight into the human experience, allowing her to connect deeply with the complex emotions of her roles.
Stundyte's approach to her craft is refreshingly honest - she believes that theatre therapy could be a powerful tool for healing and catharsis. Despite being forced to confront her own demons through her work, Stundyte remains optimistic about the potential for opera to provide a platform for raw emotion and vulnerability.
Stundyte's views on feminism are far from conventional - despite not identifying as a feminist, she insists that women have made significant progress in terms of equality and opportunities. However, she is critical of the way some women perceive themselves as victims, which she sees as undermining their own power.
The soprano has always been drawn to intense, dramatic roles that allow her to tap into her emotional depths. Her most recent casting in Leoš Janáček's The Makropulos Case has raised eyebrows due to its complex and challenging portrayal of a 300-year-old woman. Stundyte tackles the role with relish, drawing on her own experiences of feeling empty and unfulfilled after achieving success.
For Stundyte, playing these characters is not just about technical skill but also about emotional authenticity. Her past struggles with depression and unhappiness have given her a unique insight into the human experience, allowing her to connect deeply with the complex emotions of her roles.
Stundyte's approach to her craft is refreshingly honest - she believes that theatre therapy could be a powerful tool for healing and catharsis. Despite being forced to confront her own demons through her work, Stundyte remains optimistic about the potential for opera to provide a platform for raw emotion and vulnerability.
That's exactly what she's been through, but instead of letting it consume her, she used it to fuel her passion for opera. It's actually really inspiring to see someone use their struggles to help others heal. Theatre therapy sounds like a game-changer... I think we could all benefit from a little more emotional authenticity in our lives 
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. I mean, who hasn't felt empty or unfulfilled at some point in their lives? It's like she's giving us permission to feel those emotions on stage too. And I love how she talks about feminism - not just the traditional stuff but also about women owning their power and not making themselves victims. She's all about embracing our complexities 
. Stundyte's approach to theatre therapy sounds amazing, it could really help people work through some of that drama in their lives 
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she's like, so brave in talking about her mental health struggles and how they inform her acting choices - it's super inspiring! I mean, can you imagine having to tap into your own depression for a role? That takes a lot of vulnerability and self-awareness. But honestly, I think it makes her performances even more powerful and relatable...
Her approach to theatre therapy sounds so cool, but isn't it just gonna bring up all the old feelings she's trying to suppress? Ugh, I don't know, man... I think she's onto something, but also, what if it's just a way to justify her own emotional baggage? 
. The idea of theatre therapy being a tool for healing and catharsis is really interesting too...I think opera can definitely be used as a powerful platform for raw emotion and vulnerability 
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. It's like, we don't need to be rescued by someone else, we just need to tap into our own inner strength. And that's what Stundyte is doing with her music - tapping into the human experience and sharing it with the world in all its complexity 
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What I love about her is that she's not afraid to speak her mind, even if it's not what everyone wants to hear. Like, calling out the victim mentality thing – girl, you're speaking truth! 
And can we talk about how refreshing it is that she's using her platform for good? I'm all for that theatre therapy stuff, it's like, total self-care 
. The way she connects with those characters just feels so genuine and real to me... anyway, Ausrine Stundyte is def my new fave soprano 
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. Like, we need more people talking about that kind of emotional vulnerability on stage and off 
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. And I mean, who wouldn't want to tap into their own emotional depths to bring a character to life? It's like, the more authentic you are, the better your craft gets 
It's amazing how one person's vulnerability can be such a powerful tool for healing and catharsis 
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