Manager: Damon Bristo
Management Territory: Worldwide
“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
“Amanda Majeski's lyrical and desperate Vreli totally convinced…” Jörn Florian Fuchs, Die Welt, July 4, 2014 - Vreli in 'A Village Romeo and Juliet' at Oper Frankfurt
“Vitellia is the dramatic linchpin of "Clemenza," and Majeski, another Ryan Center alum, brings fearless vocalism and feistiness to the royal schemer who seeks to avenge herself on Tito for usurping a throne she believes is rightfully hers. Her technique is equal to the murderous demands of Vitellia's bravura arias, not least the huge vocal leaps and plunges of her great monologue, "Non piu di fiori," which shows the character's remorseful side.” John von Rhein, Chicago Tribune, March 6, 2014 - Vitellia in 'La clemenza di Tito' at the Lyric Opera of Chicago Festival
American lyric soprano Amanda Majeski is rapidly garnering critical acclaim for the “silvery beauty” (Musical America) of her voice coupled with “refined power, effortless dynamic control and warm tonal color.” (San Francisco Chronicle)
In the 2014-2015 season, Amanda Majeski will make her Metropolitan Opera debut on opening night as Countess Almaviva in the new Richard Eyre production of Le nozze di Figaro conducted by James Levine, a production which will also be seen in HD broadcast. She returns to the Lyric Opera of Chicago as Marta in The Passenger and also to . . . Oper Frankfurt in her first performances of Der Rosenkavalier as the Marschallin in a new Claus Guth production. Future seasons will see Ms. Majeski at the Metropolitan Opera, Lyric Opera of Chicago, Royal Opera House – Covent Garden, Salzburg Easter Festival with Christian Thielemann, Oper Frankfurt, Opernhaus Zurich, Glyndebourne Festival, Washington National Opera, Teatro Real in Madrid, and Opera Company of Philadelphia.
Amanda Majeski’s 2013 – 2014 season began in a return to Oper Frankfurt for her role debut in a new production of Rusalka under Sebastian Weigle and then her debut at Opernhaus Zürich as Marguerite in Jan Philipp Gloger’s new production of Faust. She also returned to the Lyric Opera of Chicago as Vitellia in La clemenza di Tito conducted by Andrew Davis and Opera Philadelphia in her role debut as Donna Elvira in Don Giovanni. She concluded the season at Oper Frankfurt as Vreli in a new production of Delius’s A Village Romeo and Juliet. Ms. Majeski also made her Carnegie Hall solo recital debut at Weill Recital Hall.
In the 2012 – 2013 season, Amanda Majeski debuted at Oper Frankfurt in a new production of Humperdinck’s Königskinder as the Goose-Girl, a role originated by celebrated soprano Geraldine Farrar. She also returned to the Lyric Opera of Chicago in her role debut as Eva in Die Meistersinger von Nürnberg under Andrew Davis and made her debut at the Glyndebourne Festival as Countess Almaviva in Michael Grandage’s production of Le nozze di Figaro. Recently, Ms. Majeski was a featured member of the ensemble at the Semperoper Dresden. Her performances in Dresden included the sorceress Alcina in a new production of Handel’s Alcina, Countess Madeleine in Richard Strauss’s Capriccio, Countess Almaviva in Mozart’s Le nozze di Figaro and Vitellia in a new production of La clemenza di Tito. She also made her debut at Teatro Real in Madrid as Vitellia in the much-acclaimed Karl-Ernst and Ursell Herrmann production of La clemenza di Tito.
In past seasons, Ms. Majeski made her debut at Santa Fe Opera in Vivaldi’s Griselda as Ottone in a production by Peter Sellars and debuted at Pittsburgh Opera as Blanche de la Force in Poulenc’s Dialogues des Carmélites. She also sang Marguerite in Faust with Washington Concert Opera under the baton of Antony Walker and was a featured soloist in the Marilyn Horne Foundation’s Annual Recital in at Carnegie Hall. She was seen at the Opera Theatre of Saint Louis as the Countess in The Marriage of Figaro and received acclaim from both critics and audiences alike as Vitellia in Mozart’s La clemenza di Tito with the Chicago Opera Theater in a production directed by Christopher Alden. The Chicago Tribune called her performance a “genuine tour de force that brought down the house” while Opera News praised her “gleaming soprano displaying fluent coloratura and an ample chest register that was used to hair-raising effect in the treacherous octave drop of ‘Non più di fiori’.”
Amanda Majeski is an alumna of the Lyric Opera of Chicago’s Ryan Opera Center where she made her role debut as the Countess Almaviva in Le nozze di Figaro with Sir Andrew Davis in which Chicago Magazine hailed “Majeski owned the stage.” In addition, she also covered Marguerite in Faust, Micaela in Carmen, Helena in A Midsummer Night’s Dream and Iole in Hercules directed by Peter Sellars. She has been a featured soloist “Stars of the Lyric Opera of Chicago” gala concert in Millennium Park performing Les contes d’Hoffmann, Faust and Don Giovanni.
On the concert stage, Ms. Majeski debut with Sinfonieorchester Aachen singing Berg’s Sieben frühe Lieder and Mozart’s Requiem. She has also been heard in concert singing Agathe’s arias from Der Freischütz with conductor Erik Nielsen and the Civic Orchestra of Chicago, the training orchestra affiliated with the Chicago Symphony Orchestra, and soprano soloist in Mahler’s 4th Symphony with the Quad City Symphony. Other concert performances include Bach’s Magnificat under Sir Gilbert Levine in Chicago, Handel’s Solomon and Messiah with Apollo Chorus of Chicago, Dvorak’s Te Deum with Elmhurst Symphony, and Mahler’s 4th Symphony with the Richmond Symphony Orchestra at the Kennedy Center. An active member on the roster of the Marilyn Horne Foundation, she made her New York City recital debut at Carnegie’s Weill Recital Hall in 2008.
Ms. Majeski completed her graduate degree at the prestigious Curtis Institute of Music where she was heard as Donna Anna (Don Giovanni), Magda (La rondine), Nuria (Ainadamar), the title role of Tchaikovsky’s Iolanta, and the soprano role in Poulenc’s La voix humaine. Ms. Majeski was a member of San Francisco Opera’s Merola Program in the summer of 2008 where she sang Donna Anna in Don Giovanni. She has also been a member of the Gerdine Young Artist Program at Opera Theatre of St. Louis and the Steans Institute at Ravinia.
Ms. Majeski is a George London Foundation award winner, the first prizewinner of the Palm Beach Opera Vocal Competition Junior Division, and a recipient of a Sara Tucker Study Grant from the Richard Tucker Foundation. She has also received awards from Opera Theatre of St. Louis, the Bel Canto Foundation of Rhode Island, the Bel Canto Foundation of Chicago and Opera Index.
(Updated September 2014)