Manager: Damon Bristo
Management Territory: Worldwide
“The most convincing singing of the night came from Amanda Majeski, making her WNO debut as the wronged wife of the Count. She spun clear and beautiful melodies, with sensitive gradations of volume.” Hilary Stroh, BachTrack, September 23, 2016 - Countess in 'Le nozze di Figaro' at Washington National Opera
“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
“Strauss specified that his heroine, the Marschallin, be no older than 32. Matching her real-life age to that of the character, soprano Amanda Majeski (who's 31) sang beautifully as the Marschallin… The Illinois-born Majeski carried herself with great poise and grace as she lofted creamy tone and ravishing pianissimos into the stratosphere.” John von Rhein, Chicago Tribune, February 9, 2016 - Marschallin in 'Der Rosenkavalier' at Lyric Opera of Chicago
“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)
Amanda Majeski makes her Washington National Opera debut as Countess Almaviva in Le nozze di Figaro conducted by James Gaffigan in the 2016/2017 season. She also returns to the Metropolitan Opera as Donna Elvira in Don Giovanni under Fabio Luisi and makes her role debut as Fiordiligi in Così fan tutte at Opera Omaha. In the summer of 2017, she will debut at the Teatro Colón as . . . Cleopatra in Giulio Cesare.
In the 2015/2016 season, Ms. Majeski returned to both the Metropolitan Opera and Lyric Opera of Chicago in one of her signature roles, Countess Almaviva in Le nozze di Figaro. She also brought her acclaimed Countess to Spain at Ópera de Oviedo. She debuted two Strauss heroines in the United States after major European successes: the Marschallin in Der Rosenkavalier at the Lyric and Countess Madeleine in Capriccio at Santa Fe Opera, both to great acclaim. Ms. Majeski returned to the Glyndebourne Festival as Eva in Die Meistersinger von Nürnberg in David McVicar’s production.
Ms. Majeski made her Metropolitan Opera debut on the opening night of the 2014/2015 season as Countess Almaviva in a new production of Le nozze di Figaro conducted by James Levine, which was broadcast in HD internationally and on PBS across the United States. An alumna of the Ryan Opera Center, she made her mainstage Lyric debut with only a few hours’ notice as Countess Almaviva conducted by Andrew Davis. Named “Best Breakout Star” by Chicago Magazine, she has since continued her relationship with Lyric audiences as Vitellia in La clemenza di Tito, Eva in Die Meistersinger von Nürnberg, and as Marta in The Passenger, hailed as a “shattering, star-making performance” by the Chicago Classical Review.
She made her critically-acclaimed role debut as the Marschallin in Claus Guth’s new production of Der Rosenkavalier at Oper Frankfurt, where she has also been seen as the Goose-Girl in Humperdinck’s Königskinder, Vreli in Delius’s A Village Romeo and Juliet, and the title role in Dvořák’s Rusalka. Ms. Majeski made her European debut at the Semperoper Dresden where her performances included new productions of Alcina and La clemenza di Tito, as well as revivals of Le nozze di Figaro and Capriccio. Her significant international debuts include the Glyndebourne Festival as Countess Almaviva, Opernhaus Zürich as Marguerite in a new production of Faust, and Teatro Real in Madrid as Vitellia in the much-acclaimed Herrmann production of La clemenza di Tito. In addition to her work New York and Chicago, she has appeared at Opera Philadelphia as Donna Elvira in Don Giovanni, Pittsburgh Opera as Blanche de la Force in Poulenc’s Dialogues des Carmélites, and Santa Fe Opera in Vivaldi’s Griselda as Ottone in a production by Peter Sellars.
On the concert stage, Ms. Majeski debuted with Sinfonieorchester Aachen singing Berg’s Sieben frühe Lieder and Mozart’s Requiem. She has been heard in concert singing Agathe’s arias from Der Freischütz with conductor Erik Nielsen and the Civic Orchestra of Chicago and the soprano solo in Mahler’s 4th Symphony with the Quad City Symphony. She also sang Gounod’s Marguerite in concert with Washington Concert Opera under Antony Walker, Bach’s Magnificat under Sir Gilbert Levine in Chicago, and Mahler’s 4th Symphony with the Richmond Symphony Orchestra at the Kennedy Center. She made her New York City recital debut at Carnegie’s Weill Recital Hall under the auspices of the Marilyn Horne Foundation and returned for her solo recital debut at Carnegie Hall in 2014.
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.
(Updated February 2017)
- Amanda Majeski in Königskinder (Oper Frankfurt, Oehms Classics)
- Amanda Majeski in Le nozze di Figaro (Metropolitan Opera)
- Amanda Majeski in Alcina (Semperoper Dresden)
- Photo: Fay Fox
- Photo: Fay Fox
- Photo: Fay Fox
- Photo: Fay Fox