Asrine Stundyte: Perspectives on Feminism and Opera
Within moments of entering the room, Asrine Stundyte captures my attention by stating, “I am totally not a feminist.” This declaration comes as a bit of a shock, especially considering I had just observed her rehearsing for Leoš Janáček’s opera The Makropulos Case at the Royal Opera. This production, directed by Katie Mitchell known for her feminist interpretations, marks its premiere this season with Stundyte in a leading role.
Stundyte later sends an email to clarify her initial statement, asserting that she is not opposed to women’s rights. However, she expresses concern about a perspective where “women view men as the problem and see themselves as victims.” She believes that adopting a victim mentality can lead to relinquishing personal power.
Addressing Misogyny in Opera
Our conversation occurs shortly after director Katie Mitchell mentioned to the Times her decision to end her opera career due to misogyny in the industry. Despite the controversy stirred on social media, Stundyte appears unaffected. When asked about her views on misogyny in today’s opera world, she feels that the environment has become much more welcoming for women, particularly after the #MeToo movement. She shares that her personal experiences have been overwhelmingly positive.
During the rehearsal, the dynamics in the room seemed far removed from the type of systemic sexism Mitchell described. Mitchell directed the session with a clear command, interspersing technical directions with lighthearted jokes and words of encouragement. The conductor, Jakub Hrůša, while present, clearly recognized Mitchell’s leadership throughout the rehearsal.
Stundyte spends a significant portion of the rehearsal lying on a double bed set, part of her character’s stage setting, while awaiting resolution of a technical issue. She admits that refining such details can be tedious and repetitive, reducing the room for artistic expression, but she remains relaxed and committed to the process.
An Unexpected Role in “Elektra”
Stundyte recounts an unexpected call to perform in the title role of Strauss’s Elektra at the Royal Opera, a significant opportunity that came without prior notice in January 2024. She was in the middle of a week-long fast at her home in Belgium when she received the invitation. Despite the less-than-ideal timing, she started to prepare immediately, relieved that she had managed to get some rest the night before her performance.
The intensity Stundyte brings to her roles is notable, as observed during the rehearsal for Janáček’s opera. She has a strong preference for roles that demand acting over merely beautiful singing. For Stundyte, the art of acting is compelling and integral to her performances, even if it means compromising on vocal perfection.
Playing Emilia Marty in The Makropulos Case presents unique acting challenges, given the character’s complex backstory of living over 300 years through the use of an immortality elixir. Stundyte compares the existential crises at different decades of her own life to the emotional and psychological depth required for her role, though she humorously likens her current state of contentment to feeling like a “little jellyfish,” missing the adrenaline that once energized her.
Stundyte is dismissive of the quest for immortality in real life, questioning the rationale behind fearing death and longing to extend life indefinitely. She shares a personal acceptance and curiosity about death, rooted in her beliefs from childhood.
Despite her non-traditional stance on feminism, Stundyte excels in portraying complex, often tormented characters in opera—from Strauss’s heroines to roles in Shostakovich and Janáček’s works. Her ability to channel deep, personal pain from her past enhances her performances, making them resonate with authenticity and emotional depth.
Stundyte sees her engagement with challenging roles as therapeutic, a form of personal cleansing from her own emotional baggage. She advocates for the broader application of theater as therapy, emphasizing the transformative power of performing arts not just for the audience but for the performers themselves.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
