Amanda Majeski

— Soprano

“Amanda Majeski brought a bright, focused soprano to Fiordiligi; her introspective ‘Per pietà, ben mio, perdona’ was a masterpiece of subtle coloration.”
Heidi Waleson, The Wall Street Journal, March 19, 2018 - Fiordiligi in 'Così fan tutte' at the Metropolitan Opera

“Vitellia was Amanda Majeski, a soprano with confident high notes supported by a bronzed, solid middle voice. The character is unsympathetic, and Majeski did not try to make Vitellia more reasonable than Mozart and Metastasio did. She portrayed a ruthless, cruel, cunning woman, who only at the end is overwhelmed by shame and remorse, and even then, her first thought is "What will people think of me?" Her "Non più di fiori" stopped the show.”
Laura Servidei, BachTrack, November 20, 2017 - Vitellia in 'La clemenza di Tito' at Paris Opera

"The most astonishing was the American soprano Amanda Majeski, who made a stunning Cleopatra. With an attractive voice throughout its extended range and a triumphant technical capacity to overcome the devilish colorings that Handel imposed on her character, she added interpretations and emotional intensities of the highest level, and superlative grace and performance."
Pablo Kohan, La Nación, June 8, 2017 - Cleopatra in ‘Giulio Cesare’ at Teatro Colón

“Her vocalism harks back to a kind of singing we don’t encounter much today. If you heard her pure timbre and pristine diction on a recording, you might guess it was an opera star of the 1940s or ’50s — and a fine one. Her singing has a reined-in quality that proves apt for the portrayal she has crafted. A slight quiver enters her voice now and again, adding a quality of wistfulness. It adds to the vulnerability she allows herself to display in her touching final scene, where she recognizes that her aesthetic elegance is a barrier to her own emotional fulfillment — an acknowledgment she bares to herself alone, out of view and earshot from anyone else.”
James M. Keller, New Mexican, July 24, 2016 - Countess in 'Capriccio' at Santa Fe Opera

“Amanda Majeski made the best Eva I have heard in years, true of pitch and pure of tone, comfortable in all reaches of the part and emotionally persuasive from beginning to end. The radiant B flat with which she crowned the quintet was perfection.”
Russ McDonald, Opera Magazine, June 2016 - Eva in 'Die Meistersinger von Nürnberg' at Glyndebourne Festival

“It was brilliantly realized by Guth’s beautiful young Marschallin, the rising American soprano Amanda Majeski. She made an assured debut in this psychologically complex role, singing radiantly and looking something like Strauss’s (late-life) ideal – ‘no more than 32 years old’ – for the part.”
Hugh Canning, Opera Magazine, September 2015 - Marschallin in 'Der Rosenkavalier' at Oper Frankfurt


American lyric soprano Amanda Majeski is rapidly garnering critical acclaim for a voice of “silvery beauty” (Musical America) that combines “transparent fragility with soulful strength.” (Chicago Sun-Times)

In the 2018-2019 season, Amanda Majeski makes her Royal Opera House-Covent Garden debut as the title role in Káta Kabanová in a new production by Richard Jones and conducted by Edward Gardner. She makes her house debut and role debut at the Stuttgart Opera in a new Krzysztof Warlikowski production of Gluck’s Iphigénie en Tauride and returns to Santa Fe Opera as Fiordiligi in Così fan . . .

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