Amanda Majeski


Press Resources
“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

Internationally renowned American lyric soprano Amanda Majeski is rapidly garnering critical acclaim for a voice of “silvery beauty” (Musical America), “sings with remarkable commitment and radiance of tone...She sounds exquisite.” (The Guardian), and “Majeski’s well-rounded so warm and glorious, the singing so outstanding, that she leaves no emotions unstirred.” (Financial Times) Her 2019-20 season includes four debuts with the Nürnberger Symphoniker, New York Philharmonic, Teatro dell’Opera di Roma, Teatro Real Madrid and performances with Lyric Opera of Chicago.

Majeski’s season commences with her debut with the Nürnberger Symphoniker bringing her Straussian expertise to his Vier letzte Lieder conducted by Kahchun Wong. She then returns to Lyric Opera of Chicago, the company that launched her international career, for her house role debut as Donna Elvira in Don Giovanni, followed by her debut with the New York Philharmonic as a soprano soloist in Mozart’s Mass in C Minor under the direction of Jaap van Zweden. She will also perform Hugo Wolf’s Italienisches Liederbuch at the 92nd Street Y, alongside bass-baritone Philippe Sly and pianist Julius Drake. Her season continues with a debut with Teatro dell’Opera di Roma, as the title role in Janáček’s Káťa Kabanová. The season closes with her reprisal as Marta in Weinberg’s The Passenger at Teatro Real Madrid for its Spanish premiere—a role she debuted at Lyric Opera of Chicago for which the Chicago Tribune hailed her as “radiant” and “immensely touching” adding that “she has done nothing finer.”

Highlights from her previous season include rave reviews for her Royal Opera House Káťa Kabanová, “If there is a more compelling solo performance on the operatic stage this year than Amanda Majeski’s in the title role of Janacek’s opera, I will need a new stock of superlatives. I unhesitatingly say that you are unlikely to encounter a Katya more profoundly acted than by the American soprano, nor more strikingly sung.” (The Times) Her 2018-19 season also included her concert debuts with the Sydney Symphony, Colorado Symphony, Music of the Baroque, and her debut at Staatsoper Stuttgart as the title role in Iphigénie en Tauride was praised as “Amanda Majeski in the title role has a voluminous, clean-sounding and beautiful soprano. She is the ideal person for this role” (Kultura Extra), as well as a return to Santa Fe Opera as Fiordiligi in Così fan tutte in a new production under conductor Harry Bicket and director R. B. Schlather.

Ms. Majeski holds degrees from the Curtis Institute of Music and Northwestern University. She was a member of San Francisco Opera’s Merola Program, the Gerdine Young Artist Program at Opera Theatre of St. Louis, and the Steans Institute at Ravinia. Awards include the George London Foundation Award, first prize of the Palm Beach Opera Vocal Competition, and a Sara Tucker Study Grant from the Richard Tucker Foundation.

“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
“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