Manager: Damon Bristo
Management Territory: Worldwide
“Amanda Majeski’s ravishingly sung Eva radiates disembodied beauty under the cobbler-poet Sachs’s benediction.” Michael Church, The Independent, May 24, 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
“With regards to the noble characters, the Countess was superbly performed by Amanda Majeski, especially her “Dove sono,” perhaps the best musical moment of the night. With exquisite phrasing and great musicality, she was able to sustain the most inspired Mozartian phrases written for her character, even making them seem easy to sing. This ease is what allowed her to convey both the security and authority of her status and the fragility of the deceived and disillusioned wife.” Alejandro G. Villalibre, Opera World, November 18, 2015 - Countess Almaviva in 'Le nozze di Figaro' at Opera de Oviedo
“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
“Ms. Majeski’s voice is ample and expressive...she sang with nuance and taste and made a vulnerable countess, a woman not just wounded but humiliated to have lost the love of her philandering husband.” Anthony Tommasini, New York Times, September 23, 2014 - Countess Almaviva in 'Le nozze di Figaro' at the Metropolitan Opera with James Levine
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 2015/16 season, Amanda Majeski returns to both the Metropolitan Opera and Lyric Opera of Chicago in one of her signature roles, Countess Almaviva in Le nozze di Figaro. She will also bring her acclaimed Countess to Spain’s Ópera de Oviedo. She debuts 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. Ms. Majeski returns to the Glyndebourne Festival as Eva in David McVicar’s Die Meistersinger von Nürnberg with music director Robin Ticciati.
Ms. Majeski made her Metropolitan Opera debut on the opening night of the 2014/15 season as Countess Almaviva in a new production of Le nozze di Figaro conducted by James Levine, which was broadcast in HD around the world and on PBS across the United States. She will return to the Met stage in the 2016/17 season as Donna Elvira in Don Giovanni and as part of the Met’s 50th Anniversary Gala. An alumna of the Ryan Opera Center, she made her mainstage Lyric debut with only a few hours’ notice as Countess Almaviva conducted by Sir Andrew Davis. Named “Best Breakout Star” by¬ Chicago magazine, she has 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 in 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, 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 March 2016)
- Le Nozze di Figaro: 'Porgi amor' -- Amanda Majeski (Met Opera)
- Amanda Majeski / Alcina – Semperoper Dresden
- Photo: Fay Fox
- Photo: Fay Fox
- Photo: Fay Fox
- Photo: Fay Fox