Nomeda Kazlaus is author and host of the ‚Skambantys pasauliai su Nomeda Kazlaus’ (The Ringing Worlds with Nomeda Kazlaus) TV talk show series at the Lithuanian National TV where she interviews world-famous music and culture personalities like Montserrat Caballe (soprano, Spain), Andrea Bocelli (tenor, Italy), Plácido Domingo (tenor, Spain), Christoph Eschenbach (conductor, pianist), Sarah Brightman (soprano), Dmitri Hvorostovsky (baritone), Jean Michel Jarre (France), John Fisher (conductor, Metropolitan Opera Director), Sasha Walz (choreographer), Erwin Schrott (baritone), Jostein Gaarder (writer), Erwin Wurm (artist), Krzysztof Zanussi (film director), Krzysztof Penderecki (composer, conductor), Charles Castronovo (tenor), Alexander Markov (violinist), Jelena Bashkirova (pianist), Ruta Lee (actress), Constantine Orbelian (pianist, conductor), Lawrence Brownlee (tenor), Ivan Monighetti (cellist), Montserrat Marti (soprano), Eimuntas Nekrošius (stage director, Lithuania), Andrei Makarevich (singer) etc.
It looks into various vocal techniques, interpretations, the importance of proper breathing and psychological stamina—all explored against the backdrop of the serene Palanga seaside resort in Lithuania whose pristine natural beauty is something all academy participants blend with.
Conductors she has worked with include Lord Yehudi Menuhin, Valery Gergiev, Constantine Orbelian, Vladimir Fedoseev, Saulius Sondeckis, José Collado, Anton Guadagno, Tugan Sokhiev, Jacek Kaspszyk, Alexander Sladkovski, Roberto Paternostro, Mikhail Sinkevich, Walter Attanasi, Miquel Ortega, Ewa Michnik, Modestas Pitrėnas, Juozas Domarkas, Robertas Servenikas, Martynas Staskus, Vytautas Lukocius, etc.
In May 2010, Nomeda Kazlaus facilitated the arrival of Montserrat Caballé in Vilnius, where they gave a joint gala concert [3] at the Lithuanian National Opera and Ballet Theatre to celebrate the tenth anniversary of their collaboration.
It was a truly sensuous performance.’ Brendan G. Carroll, Opera Now, July/August 2007, England, after Die Walkure at the Lithuanian National Opera Theatre ‘The soprano Nomeda Kazlaus was especially outstanding with her more than usually human and subtly feminine interpretation of the Brunhilde character, in which she skillfully found enough space to also show the belligerent side of her, not withholding any of the obligatory pinnacles associated with the role.’ Giulia Vannoni, La Voce, July 2007, Italy, after Die Walkure at the Teatro Alighieri during the Ravenna annual festival ‘Nomeda Kazlaus skillfully interprets Brunnhilde; she embellishes the character with her voice, beauty and powerful vitality, while being utmost delicate in conveying all its motherly and daughterly fondness.’ Stefania Bevilacqua, www.ateatro.it, (108) 16/05/2007, Italy, after Die Walkure at the Lithuanian National Opera Theatre ‘However, it was the local artist, Nomeda Kazlaus, who shined through above all the international cast as Brunnhilde.’ Dmitri Morozov, The Culture, April 5–11, 2007 edition, after Die Walkure at the Lithuanian National Opera Theatre, Russia ‘Nomeda Kazlaus successfully tamed the very demanding role of Brunhilde and her performance was one of grandeur.’ ‘A Lecture from Lithuania’ by Gregor Pom, The Pop/Kultura, July 13, 2007, Slovenia, after Die Walkure at the Ljublijana Festival ‘In our opinion, the first Lithuanian Brunhilde, embodied by Nomeda Kazlaus, is a stunning match of the director’s creative vision.
Having lived the music of Wagner‘s on the grand stages of Moscow and St.Petersburgh, this solo performer charmed with beautifully polished voice, vibrant with equally qualitative sound in all registers.
Her most successful and convincing moments both vocally and in terms of theatrical expression were the episode with Siegmund in the 2nd and the finale of the 3rd acts.’ Jurate Katinaite, The Literature & Art, March 23, 2007, Lithuania ‘Nomeda Kazlaus who interprets the role of Brunnhilde owns a remarkably stylish singing manner underlined with perfect articulation.’ Sarunas Nakas, The Guilds Of Culture, March 2007, Lithuania ‘The last act of the opera awards with exceptionally impressive duos of Wotan and his Valkyrie daughter Brunnhilde by Nomeda Kazlaus.’ Joana Giedraityte, The Time, March 16, 2007, Lithuania ‘Nominated for the Golden Stage Cross national award in the category of the Young Artist for the exceptionally startling debut in the role of Brunnhilde in R.Wagner‘s Die Walkure.’ The Bravissimo, April 2007, Lithuania Nomeda Kazlaus (Reviews) as Desdemona in Verdi's Otello at the International Pergola Opera Festival in Wroclaw, Poland, 2008, reviews 'The famous Lithuania-born opera singer Nomeda Kazlaus was invited to breathe the life of her own into the role of the black vice gerent's wife.
One could hear the unconditional artistic devotion, awash with sincerity in the 3rd act during the sad willow ballad Dio ti Giocondi, as well as during the final prayer Era Piu Calmo, Ave Maria.
‘Othello Abandons Cyprus for the Island of Piasek’ by Wilfried Gorny, www.maestro.net.pl, June 19, 2008 'The production was blessed with a wonderful cast of singers, especially the outstanding Lithuanian Nomeda Kazlaus, the owner of the powerful soprano rich in colour and depth.'
‘Othello on the Water – press reviews about the first night of the opera’ by Adam Domagala, the Gazeta Wyborcza, June 16, 2008 'A big surprise of this international production was soprano Nomeda Kazlaus who created the role of Desdemona <...>.
The suspense she generated grew as the opera progressed and became palpable in the final act when Kazlaus revealed her vocal and artistic prowess in the impressive incarnation of the prayer and subsequent death in the arms of her beloved."
‘Verdi’s Chamber Othello in Wroclaw’ by Magdalena Talik, www.kulturaonline.pl, June 16, 2008 'The Lithuanian soprano Nomeda Kazlaus convinced beyond doubt of the legitimacy of her concept of Desdemona.
‘The Death Creep’s in on a Freezing Night of Opera’ by Jacek Marczynski, the Rzeczpospolita, June 16, 2008 'Nomeda Kazlaus as Desdemona truly walks in her character's shoes <...> the stunning scene where she sings of the willow, then the heartrending prayer in the final act hypnotized with sheer beauty and warmth of emotion.'