Fletcher Artist Management is Amanda Majeski’s General Management. For inquiries in Europe & Asia, please also contact Intermusica.

Internationally renowned American lyric soprano Amanda Majeski is rapidly garnering critical acclaim for a voice of “silvery beauty” (Musical America), with the Financial Times remarking that “Majeski’s well-rounded soprano…is so warm and glorious, the singing so outstanding, that she leaves no emotions unstirred.”

Having established herself as a celebrated interpreter of Mozart, Strauss, Wagner and Handel, Majeski added a new dimension to her career with her standout performance as the title role in Káťa Kabanová at Royal Opera, Covent Garden in 2019, which won Best New Opera Production at that year’s Olivier Awards.

Amanda Majeski’s COVID-19 impacted 2020-2021 season features an array of exciting debuts and collaborations. The season begins with Beethoven’s Missa Solemnis and Ninth Symphony with the Gewandhausorchester Leipzig, conducted by Music Director Andris Nelsons, followed by an appearance with the Chicago Symphony Orchestra for Wagner’s Wesendonk Lieder, and a return to Opéra national de Paris for Vitellia in La clemenza di Tito. Additional plans for the season, unfortunately cancelled or postponed due to the pandemic, included Brahms’ Ein deutsches Requiem with Boston’s acclaimed Handel & Haydn Society, conducted by Harry Bicket; her Boston Symphony Orchestra debut as the soprano soloist in Beethoven’s Ninth Symphony, conducted by Music Director Andris Nelsons; the 3rd Norn and Gutrune in Wagner’s Götterdämmerung with the Netherlands Radio Philharmonic, conducted by Jaap Van Zweden; a continued exploration of Janáček’s operas, making her role debut as Jenůfa at Welsh National Opera; a return to her hugely acclaimed portrayal of Káťa Kabanová in a company debut with the Canadian Opera Company; and her return to the Metropolitan Opera as Donna Elvira in Mozart’s Don Giovanni.

Majeski’s COVID-19 shortened 2019-2020 season commenced with her debut with the Nürnberger Symphoniker bringing her Straussian expertise to his Vier letzte Lieder conducted by Kahchun Wong. She then returned 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 Hugo Wolf’s Italienisches Liederbuch at the 92nd Street Y, alongside bass-baritone Philippe Sly and pianist Julius Drake. Her season was planned to continue with a debut with Teatro dell’Opera di Roma, as the title role in Janáček’s Káťa Kabanová (cancelled), and to close with her reprisal as Marta in Weinberg’s The Passenger at Teatro Real Madrid for its Spanish premiere (cancelled)—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 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. Since then, she has returned for revivals of Le nozze di Figaro and Don Giovanni, both conducted by Fabio Luisi, and a new production of Così fan tutte conducted by David Robertson which was a featured HD broadcast in the 2017-2018 season. 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, the Marschallin in Der Rosenkavalier 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 and Eva, Opernhaus Zürich as Marguerite in a new production of Faust, as well as the Paris Opera and Teatro Real as Vitellia in La clemenza di Tito. She made her debuts at the National Centre for the Performing Arts in Beijing as Eva in Kasper Holten’s new production of Die Meistersinger von Nürnberg and her debut at Teatro Colón as Cleopatra in Handel’s Giulio Cesare. Her US career also includes performances with Opera Philadelphia as Donna Elvira in Don Giovanni, Pittsburgh Opera as Blanche de la Force in Poulenc’s Dialogues des Carmélites, and her Washington National Opera debut as the Countess in Le nozze di Figaro. Ms. Majeski’s long-standing relationship with the Santa Fe Opera includes her debut in Vivaldi’s Griselda as Ottone in a production by Peter Sellars, subsequently appearing as Countess Madeleine in Capriccio and her first performances of the Composer in Richard Strauss’s Ariadne auf Naxos to rave reviews.

On the concert stage, Ms. Majeski made her debut with the Hong Kong Philharmonic as Gutrune in Richard Wagner’s Götterdämmerung conducted by Jaap van Zweden which will be released commercially on Naxos Records as the final installment of their Ring Cycle. She has appeared with the Los Angeles Philharmonic at the Hollywood Bowl in Ludwig van Beethoven’s Ninth Symphony conducted by Gustavo Dudamel and sang her first performances of Strauss’ Vier letzte Lieder at Philadelphia’s Verizon Hall with the Curtis Orchestra conducted by Karina Canellakis. She debuted with Sinfonieorchester Aachen singing Berg’s Sieben frühe Lieder and Mozart’s Requiem, 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, Mahler’s 4th Symphony with the Richmond Symphony Orchestra at the Kennedy Center and the title role in Stanisław Moniuszko’s Halka at the Bard Music Festival. 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.

Santa Fe Opera  – Così fan tutte

Amanda Majeski, who has sung several leading roles at Santa Fe, showed herself to be a capable Fiordiligi whose top notes bloomed with silver magic as she romped around the stage. For “Come Scoglio” (“Like a rock”), she was comedically impassive and for “Per pietà” (“For pity”) she truly begged for forgiveness as she used every note in her wide range to encompass the scope of Mozart’s writing.”

Maria Nockin, BroadwayWorld

“Soprano Majeski, mezzo-soprano D’Angelo and tenor Bliss offered superlative singing as three of the four young lovers. Majeski’s beautifully produced lyric soprano has just enough edge to encompass the character’s emotional extremes and the vocal range to conquer the role’s enormous range of high and low notes.”

Mark Tiarks, Santa Fe New Mexican

“Dorabella (mezzo-soprano Emily D’Angelo) and Fiordiligi (Amanda Majeski, who was also last year’s positively smoldering Composer in Ariadne auf Naxos) have some of the best chemistry you could ever ask for. The pair, who are sisters easily mistaken for a dynamic and complex pair of girlfriends, are in white outfits of a similar bent to those of the men: tiny tennis skirts and perfect white sneakers paired with white tee shirts on bodies that affected childish poses at every possible opportunity, emphasizing the women’s adolescent girlishness that eventually evolves to adult agony.”

Charlotte Jusinski, Santa Fe Reporter

Staatsoper Stuttgart – Iphigénie en Tauride

The American soprano Amanda Majeski…wonderfully free in her singing, enthrallingly embodies this young Iphigenie both physically and vocally.”

Werner M. Grimmel, Schwaebische

“Amanda Majeski was outstanding in the title role, making her house and role debut at the same time.”

Dr. Markus Fischer, Allg. dt. Zeitung Rumänien

“Amanda Majeski as Iphigénie effectively expresses of her suffering and sets high tensions that make the music even more impressive…one could not wish for a more outwardly self-confident, yet inwardly broken Iphigènie… Her singing is soulful, highly concentrated and splendid, clear, no phrase is pressed. She is absolutely convincing.”

Anna-Maria Haberberger, Klassik-begeistert.de

“First and foremost here is the young, well-to-do Amanda Majeski, who not only played the Iphigénie convincingly with tremendous acting power, but also sang in a warm, balanced, well-focused and nuanced soprano. The tone was consistently expressive and differentiated. Overall, her role portrayal breathed great intensity.”

Ludwig Steinbach, Der Opernfreund

“With an expressive dramatic soprano, Amanda Majeski not only sings the title role convincingly, she credibly lives up to her task in the opera as well.”

Dieter Schnabel, Fränkische Nachrichten

“Amanda Majeski is Iphigénie. Perfect lines, strong expressiveness and an exceptional ability to modulate her warm soprano voice in order to express different aspects of the character.”

Achim Dombrowski, O-Ton online

“The now internationally established Amanda Majeski gives a winning performance, full of color and nuance, with a full, even soprano that effortless soars…”

Udo Klebes, Online Merker

“Amanda Majeski, in a flashy golden dress, is also vocally is every bit as much of a queen. She delivers a sensational, heartrending role debut.”

Egbert Tholl, Süddeutsche Zeitung

“It is the singing that turns this into a stunning evening. Amanda Majeski, so impressive as Katya Kabanova in London, turns it up even farther here, her singing so strong, without being remotely aggressive, the tone always sure, the sound chock full of emotion, her physical performance similarly forthright, possessed of an eerie stillness when it needs, but always full of pent-up energy. She’s some singer.”

Robert Thicknesse, Critics Circle

“Amanda Majeski united in the title role all the advantages of a youthful dramatic voice, which also sat optimally. She articulated and phrased beautifully, had a slightly metallic, lucid color scheme and dynamically ranged from a substantial piano to a voluminous forte.”

Jörg Riedlbauer, Der Klassikkritiker

“…and how Amanda Majeski makes this excitement tremendously enthralling is terrific. The US-American soprano has robust melodic lines, razor-sharp volume in the text, but she can also vary emotionally appropriate – a genuine singing actress, which gives her character of Iphigénie fascinating profile.”

Dietholf Zerweck, Ludwigsburger Kreiszeitung

“The 34-year-old American soprano Amanda Majeski gave as Iphigénie an excellent and enthusiastically received debut in Stuttgart. She has a warm, individually colored sound that is balanced in all positions, and she also impresses with her slender, towering heroine figure.”

Hermann Becke, Der Opernfreund

“Musically, the performance is overwhelming. Amanda Majeski in the title role has a voluminous, clean-sounding and beautiful soprano. She is the ideal person for this role.”

Thomas Rothschild, Kultura Extra

The Royal Opera House Covent Garden – 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.”

Richard Morrison, The Times

“Majeski, in one of the finest house debuts of recent years, sings with remarkable commitment and radiance of tone…She sounds exquisite.”

Tim Ashley, The Guardian

“Amanda Majeski’s well-rounded soprano…is so warm and glorious, the singing so outstanding, that she leaves no emotions unstirred.”

Richard Fairman, Financial Times

“…a star turn worth celebrating from Amanda Majeski…exquisite singing”

Rupert Christiansen, The Telegraph

“American soprano Amanda Majeski, making her Royal Opera debut, stands out. Her body, as expressive as her voice, outlines Katya’s blend of iron resolve and vulnerability.”

Nick Kimberley, Evening Standard

“Majeski’s incarnation of Kát’a is a virtuoso performance…she expresses her mounting anguish as much with her body as with her voice.”

Michael Church, The Independent

“One of the greatest operatic experiences of my life…[Majeski] performed the title role with a commitment and accuracy that means she should be besieged by the casting moguls of the world. She has a warm, rich tone when it is needed…and her acting was just as powerful as her singing…As with Callas and so few other singers, every gesture was dictated by the music.”

Michael Tanner, The Spectator

“American soprano, Amanda Majeski, tall and blonde, inhabits the part with great poetic force, giving herself over to the searing vision of Richard Jones’s production…[and] reminds one that opera can be the supremely expressive performing art.”

Simon Callow, New Statesman

“[A] profoundly committed Kát’a…the American soprano, in her Covent Garden debut, completely captured the character’s distressing vulnerability and was equally convincingly charting the trajectory of Kát’a’s downward spiral.”

George Hall, Opera News

“[Majeski] rode the orchestra easily while sounding freshly youthful…[she] sang with wonderful accuracy, her gestures all articulating what is there in the music…[an] outstanding performance.”

John Allison, Opera Magazine

“For Majeski, it was not only her house debut but also her first ever Janáček opera, and she threw everything into it. There’s plenty of beauty of voice and security of pitch…but what made this performance exceptional was the quality of the vocal acting. Close your eyes and you could hear Majeski putting across the full gamut of shifting emotions, and since Katya is a highly unstable character, there are a lot of shifts to negotiate.”

David Karlin, Bachtrack

“…beautifully sung, with a host of appropriate colours in the rich soprano with its radiant top and full chest voice”

David Nice, The Arts Desk

“…in American soprano Amanda Majeski, making her Covent Garden debut, there is a Kát’a with radiance in her brief moments of bliss and with an eviscerated lower register that is heartbreaking.”

Claudia Pritchard, Culture Whisper

“Amanda Majeski, playing the eponymous Katya, makes a bold debut with a voice that carries with it the sheer sorrow of her character.”

Minul de Alwis, The Strand Magazine

“In her house and role debut, Majeski gives such heartfelt commitment to the role of Kát’a that one worries how she can come back down from the emotional peaks and precipices that she scales in her performance…Majeski lurched with paradoxical fluency through Kát’a’s emotional upheavals, from insular self-denial to nascent optimism, from sweet fulfillment to utter despair. Her Act 3 confession was simultaneously disturbingly irrational and hypnotically enthralling…Majeski’s stunning vocal acting dominated this performance.”

Claire Seymour, Opera Today

“The American soprano Amanda Majeski makes a glorious debut at Covent Garden in the title role, singing with great emotion and clarity and dominating the piece.”

William Hartson, The Daily Express

“American soprano Amanda Majeski tugs on every heart-string, and then some, in her debut as the beautiful and naïve Kát’a…Majeski makes you believe that you’re truly witnessing a human soul at the very edge of endurance, watching the threads of life snapping. It’s almost enough to make you forget that she’s singing too — and when you hear a voice of such variety, beauty and sparkling clarity as hers, that’s one helluva big ‘almost’.”

Warwick Thompson, Metro UK

“When she sang, a listener’s emotions went through the roof. Powerful across her register…with intense vocal colors both derived from and informing her dramatic performance, the American soprano scored a first-night triumph of a kind too rarely heard in London.”

Mark Valencia, Musical America

“Amanda Majeski makes an unforgettable debut… in a performance of hypnotic intensity…[she] was able to handle Janáček’s unique ‘speech melodies’ with untroubled ease.”

Fiona Maddocks, The Guardian

“It was a triumph for the American soprano Amanda Majeski, who brought a Wagnerian intensity to her compelling portrayal of the tragic heroine Katya.”

David Mellor, Daily Mail

“Amanda Majeski’s Katya was a towering performance: fearful, compassionate, human, with as impressive and moving an emotional as a dynamic range.”

Mark Berry, Seen and Heard International

“Majeski’s is a performance the audience can’t take their eyes and ears off. She doesn’t just sing the role wonderfully, she fully embodies its visions of flying and its experience of entrapment.”

Lucien Jenkins, Critics’ Circle

“Amanda Majeski lends a welcomingly innocent portrayal of the scared heroine to her interpretation of Káťa. Gifted with a simultaneously full-bodied, silvery soprano and nearly omnipotent vocal technique, Majeski controls her vibrato with sumptuous self-guidance. Its total potential is unleashed in peaks of the protagonist’s dreaminess.”

Sophia Lambton,OperaWire

Music of the Baroque – Mozart’s Requiem

Soprano Amanda Majeski proved most effective…her tone as full as it was warm, her lines commanding attention above all else.”

Howard Reich, Chicago Tribune

“Amanda Majeski provided reams of gleaming sound in the soprano solos, her voice graced by an iridescent quality alloyed with substantial heft in mid-range that has proved such an asset in her Mozart and Strauss outings.”

Mark Thomas Ketterson, Opera News

“Soprano Amanda Majeski sang with rich tone and purity.”

Lawrence A. Johnson, Classical Chicago Review

Santa Fe Opera – Ariadne auf Naxos

The Composer of Amanda Majeski galvanized the proceedings. She presented a gangly young man, as yet unaware of what his of what his own role might be in the roundelay of sex, but nonetheless inherently appealing. Her singing made a terrifically compelling case for the casting of a soprano in the role. Her voice had the requisite solidity in its lower range, but it truly soared above the staff, offering an aural correlative for the character’s youthful ardor. The vibrant sound she brought to the paean to music embodied the ‘heilige Kunst.’”

Fred Cohn, Opera News

“Majeski lent a rich timbre to the part, and her dramatic presence left a mark.”

James M. Keller, Santa Fe New Mexican

“[Majeski’s Composer and Redpath’s Zerbinetta are] the stars of this production…Not only are they charismatic on their own, but they find their way to each other for a romance that practically throws off visible sparks. The fantastic performances from both women could not be more different, but come together with chemistry so exhilarating, I doubt Strauss could ever have imagined its effect on audiences an ocean and a century away.”

Charlotte Jusinski, Santa Fe Reporter

“Soprano Amanda Majeski…delivers bold, forward vocalism, but also plenty of nuance.”

Scott Cantrell, The Dallas Morning News

“Soprano Amanda Majeski was perfect in the trouser role…vocally flawless.”

Sarah Bryan Miller, St. Louis Post-Dispatch

“[The Composer was] sung with radiant pathos by Amanda Majeski”

Thomas May, Musical America

“She made the audience feel the composer’s pain as her large voice encompassed the house with elegant tones.”

Maria Nockin, BroadwayWorld

“She possesses a beautiful, powerful voice with a unique tone.”

Arya Roshanian, OperaWire

“Amanda Majeski – who sang the Countess a few years ago in Mr Albery’s Capriccio – was, on this evening, in a class by herself: her Composer was a flawless creation of youthful vulnerability and unshakable idealism, conveyed through an awkward physical manner and complete vocal confidence. There was little pretention in her actions and gestures: her continual mood swings and compulsive revisions to the score all seemed to originate from an untameable artistic impulse. Yet the true nobility of the character emerged in Ms Majeski’s stunning mid-range passages that seemed to grow even fuller and rounder as she moved up toward the higher notes.”

Jesse Simon, MundoClasico

“[The] composer is played by Illinois soprano Amanda Majeski in a standout performance. Majeski, whose large and expressive soprano voice was enlisted for the highly strung young man, was utterly convincing in the role.”

William, Opera Warhorses

National Centre for the Performing Arts, Beijing – Die Meistersinger von Nürnberg

Among the singers the one to stand out was Amanda Majeski’s Eva. She has a truly lovely voice and her high notes were beautiful and steady. Her style everywhere matched her character and she sang the beautiful music from her entrance in Act III to the end of the quintet with a rare confidence and subtlety.”

Colin Mackerras, Limelight Magazine

The Metropolitan Opera – Così fan tutte

Ms. Majeski’s lustrous, focused voice and Ms. Malfi’s mellower tones blend beautifully in the scene, set on the boardwalk with a Ferris wheel and roller coaster in the distance.”

Anthony Tommasini, The New York Times

“The fairground, 1950s Coney Island setting…lent some gorgeous imagery, not least Amanda Majeski’s Fiordiligi circling on a Ferris wheel for her great aria, ‘Per pietà.’”

David Allen, The New York Times

“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

“Amanda Majeski sings Fiordiligi’s aria ‘Per pietà’ as she is hoisted aloft in a balloon ride…and Majeski makes it bloom with self-doubt and regret. Alone with her thoughts, she drifts up and away, her silvery voice shooting higher as her body returns to earth…exquisite.”

Justin Davidson, New York Magazine

The 10 Best Classical-Music Performances of 2018 – “When Phelim McDermott drop-kicked the setting to 1950s Coney Island in the Met’s latest production, the opera thrived yet again, thanks especially to an airborne Amanda Majeski singing ‘Per pietà’ from a hot-air balloon.”

Justin Davidson, New York Magazine

“In Act Two the high point, both literally and figuratively, is Fiordiligi’s aria ‘Per pietà, ben mio, perdona,’ sung superbly by Majeski while floating in a hot-air balloon.”

Virginia Webb, Financial Times

“Majeski especially glows in her two arias, skipping across a two-octave range and floating weightlessly through her high notes.”

Zachary Stewart,Theater Mania

“[Majeski’s] second aria, ‘Per pieta, ben mio,’ was easily the showstopping moment of the night. Her decision on what to do with her emotions was literally up in the air as she rode a hot-air balloon. But Majeski’s singing here was arresting, the soprano’s voice slender and flexible throughout Mozart’s long lines; her shifts from high notes to extreme lows were handled with tremendous care, emphasizing Fiordiligi’s own sense of responsibility with her upcoming decision. In the latter section, the voice took on greater force, and one could sense the character’s transformation into a secure woman. Did I mention she was singing while in the air? Her performance was nothing if not breathtaking.”

David Salazar, OperaWire

“The direction by Phelim McDermott is fluid and funny, though Amanda Majeski’s beautiful aria ‘Per pietà, ben mio, perdona,’ performed from a floating gondola, may be the most dangerous thing we’ve seen at the Met…Amanda Majeski and Serena Malfi are wonderful together — appearance, voice, and movement are perfectly complementary.”

Daniel Gelernter, National Review

“Though “Così fan tutte” is a comic opera, Mozart includes some music with deep feelings. One example is Fiordiligi’s aria ‘Per pietà, ben mio, perdona,’ in which Majeski sings in a hot air balloon that rises and descends during her moving rendition.”

Barry Bassis, The Epoch Times

“Amanda Majeski entered a spherical fun ride and was hoisted into the air, seemingly alone against the night sky.  The effect was a spectacular coup de théâtre and emphasized the isolation and vulnerability of the character at that point in the opera…The technical execution of ‘Come Scoglio’ was excellent and she showed herself an adept performer across the vocal range…She sustained the vocal line beautifully in ‘Per pietà’ and gave a very heartfelt and moving performance.”

Robert Beattie, Seen and Heard International

“Majeski’s performance of ‘Per pieta,’ as she travels in gentle circles against an empty stage in a Ferris wheel basket, is a bright star among many stellar arias.”

Benjamin Preston, Brooklyn Daily Eagle

“David Robertson, the conductor, allows Majeski to spin out a long and delicate thread of melody, as she ascends both vocally and physically, offering a magical filament of vocal light in the darkness of the stage and the darkness of the opera house, while clarinets, bassoons, horns, and flutes seem to sustain her ascent.”

Larry Wolff, NY Books

Hong Kong Philharmonic – Götterdämmerung

Amanda Majeski’s Gutrune deserves particular mention. While the role gives few opportunities to show off, the American soprano sang with extraordinary beauty and dignity.”

Philip Eisenbeiss, Interlude

Paris Opera – La clemenza di Tito

Amanda Majeski has the cutting sharpness and the depth of power necessary to portray Vitellia, especially as she handles the register jumps with ease.”

Yannick Boussaert, Forum 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

“The soprano Amanda Majeski succeeds in illustrating Vitellia’s psychological evolution in a credible and sincere way.”

Cinzia Rota, ClassicAgenda Chronique

“The women were the major victors of the evening. Amanda Majeski marvelously opens the drama as Vitellia, the daughter of a deposed former Emperor, sending forth her robust voice without any weaknesses and radiating easily out over the delicate continuo of the harpsichord. Her passion enveloped her, her intense high notes reaching all the way down to the depths of her bosom. Her sharp grins and diabolical appearance perfectly fit her character, with her features drawn back by a very tight hairstyle, very high, as in true Renaissance fashion. It would be impossible not to mention the length and richness of her breath. Her farewells to the hope of love and of nuptials established her right to that throne as she slowly spread her bouquet of roses (shattering old Traviata, raising applause long before the orchestra had concluded her final aria).”

Charles Arden, Ôlyrix

Bard Music Festival – Halka

Soprano Amanda Majeski as Halka filled the room with her natural sounding voice full of longing and pathos. Her role dominates the opera and Majeski delivered volume, nuance, and remarkable acting savvy… Majeski’s performance and the lush, dramatic music left a viewer more than satisfied.”

Kevin T. McEneaney, The Millbrook Independent

“The musical performances of the cast were impressive, particularly Amanda Majeski, who triumphed in the title role. She sang with beautifully connected lines, each time growing with more clarity and gorgeous tone, but still managing to bring out that unhappiness. Majeski showed why she is such a promising artist… She emanated a celestial quality in the final portion that capped her performance on a truly mesmerizing note.”

Francisco Salazar, Opera Wire

Teatro Colón – Giulio Cesare

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

“American soprano Amanda Majeski, in her role debut as Cleopatra, grabbed the attention with the smoothness of her singing as well as her technical agility, diamond-like shine and rich colour.”

Carlos Ennesto Ure, Opera Magazine

“Amanda Majeski is a great Cleopatra, intense and volatile. Her aria “Piangerò la sorte mia” was of paralyzing beauty.”

Diego Fischerman, Página/12

“Two artists made their welcome début: Amanda Majeski as an attractive Cleopatra equally adept to lightness and intense melancholy…”

Pablo Bardin, Buenos Aires Herald

“A pleasant surprise was the American soprano Amanda Majeski, who dazzled as Cleopatra. With beautiful scenic and powerful presence as an actress, she showed homogeneity of timbre, exquisite technique, perfect handling of the colorings, intensities, and attractive vocal color.”

Gustavo Gabriel Otero, Mundo Clásico

“The American soprano Amanda Majeski perfectly exhibited a vocal power with all the nuances demanded by a work that takes her character to extreme passions: from seduction to love to captivity. Clarity, power, colors. Her technical capability is all-encompassing. ‘Piangerò la sorte mia’ is one of her greatest moments.”

Eduardo Balestena, La Capital

“Nothing would be the same without the talent of that Cleopatra, the versatile American soprano Amanda Majeski, who passes with equal brilliance through all registers – from the lascivious and mocking speculator of the beginning to the suffering and selfless lover of the end, in a typically baroque progression. The cast selection is impeccable, shining from end to end.”

Federico Monjeau, Clarín

Opera Omaha – Così fan tutte

Fiordiligi was exquisitely sung by Amanda Majeski, whose voice, graceful shaping of phrases, and even tone were stunning throughout the performance, especially in “Per pieta.” The vocal consistency Majeski displayed in “Come scoglio” was impressive. The duets between the sisters were transcendent: Majeski and Fons sang with such consonance of breath, dynamic, phrasing, and emotion it was as if they were one voice singing in perfect harmony with itself…graceful and pure vocalism.”

Kevin Hanrahan, Opera News

“Majeski and Fons were enchanting as the characters the rest set out to fool. Few operas require such vocal dexterity against such an emotionally subtle tale. Their vocal gymnastics were a constant delight.”

Drew Neneman, Omaha World-Herald

“Fiordiligi’s aria “Per pieta, ben mio, perdona” in the second act was nothing short of mastery. If you didn’t cry, you may not be human. Majeski was able to jump an octave and a half while nailing pitches, portraying remorse and maintaining the effortless quality necessary for Mozart. She managed to flawlessly execute soft regret spiraling into harsh sorrow within seconds – and while reclining from heartbreak on a chaise, no less.”

Emily Johnson and Katherine Pawlowski, Daily Nonpareil

Washington National Opera – Le nozze di Figaro

The singer onstage with the greatest stature was Amanda Majeski, whose Countess I last heard at the Met a couple of years ago and who delivered a similar performance here: vocally strong, dramatically nuanced, with a bit of an edge to her singing but a generally lovely presentation.”

Anne Midgette, Washington Post

“Headliner Amanda Majeski did not disappoint in the Countess’s major showpieces, especially a  captivating “Dove sono” in which her colorful, urgent soprano beautifully conveyed the Countess’ frustration and melancholy, eliciting the biggest audience response of the night.”

Alex Baker, Parterre Box

“As skillful as the ensemble may be, nothing moves the needle until the arrival of the statuesque Amanda Majeski’s Countess. Alone and melancholy, she sings mournfully of the faithless Almaviva with the crystalline beauty of a sorrowful Snow Queen. It’s a rare moment of magic…”

Kate Wingfield, DC MetroWeekly

“The singing was thoroughly delightful and in some instances stunning. Amanda Majeski as the Countess had a distinct soprano sound that put me in mind of the German-born Austrian Gundula Janowitz, one of the most renowned singers of the 20th century. Majeski’s ability to float a line and pluck high notes from the stratosphere, inserting them effortlessly yet substantively in her vocal runs is crazy good. She seemed perfection cast as the Countess, a Pre-Raphaelite painting with her golden curls, long fingers and  willowy body.”

Susan Galbraith, DC Theatre Scene

“The production’s standout was Amanda Majeski (Countess Almaviva), whose name gets it right: She was majestic. The soprano was the vision of wounded grace. So statuesque and beautiful was Majeski that she almost undermined the premise of her character, who mourns the loss of her power over her wayward husband and later contrives to regain it. Why would the count be out in the village chasing skirts when he was married to someone so beautiful? The answer, I suppose, is that men can be awfully stupid.”

Blake Seitz, Washington Free Beacon

“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

“Majeski, in terms the Nationals Park audience would understand, hit her arias, particularly Dove sono, out of the ballpark. (I shall forgo saying it was pitch-perfect.) She was an affecting Countess.”

Charles T. Downey, IonArts

“Amanda Majeski (Countess Almaviva) is a veritable triumph. As predicted, Majeski’s regal Countess is one of the standout performances of the night. The Countess’s lamentation, the aria “Porgi, amor,” soars through the opera hall on the wings of Majeski’s lyric soprano.”

Jennifer Minich, MD Theatre Guide

“And then there’s soprano Amanda Majeski, who reminds us that we are in a Mozart opera, after all, not just a really big show. In the middle of this madness, her Countess is a decidedly complicated human being, and it comes through in her singing — modulated for emotional clarity — and in her presence, which nags at us with the thought that she’s a woman with a heart and faith that’s nearly broken, amid a mountain of nuttiness. She’s the centerpiece of an epic comedy, and a major piece of stagecraft and entertainment.”

Gary Tischler, The Georgetowner

“The poised, elegant and moving performance of soprano Amanda Majeski…was a picture-perfect Rosina, willowy, dignified, yet deeply emotional and still eager to reclaim her lost love. Vocally, Ms. Majeski’s interpretation was warm, loving, and well-rounded, yet also gripping. She sinuously intertwined her voice with Mozart’s lovely music and Da Ponte’s beautiful libretto, creating a flesh-and-blood character that instantly grabbed and held the audience’s heart. Brava!”

Terry Ponick, CDN

“Poor Countess Rosina, whose fragility and deep sadness are brought out in a stunning performance by Amanda Majeski, is caught in the middle. It is the women who are truly at the heart of this production…when [Oropesa and Majeski] take the stage together, audiences cannot fail to be moved.”

Santa Fe Opera – Le nozze di Figaro

Everything revolves around the Countess. Soprano Amanda Majeski portrays her with casual charm and sincere warmth, creating a character in control of her world and secure in her situation. Politesse is so deeply imbued in her character that she carries it without the slightest self-consciousness. Majeski’s soprano is tightly focused, her intonation is spot-on and her delivery rolls forth with conversational naturalness. Her timbre is pure, sometimes approaching a “white sound” that allows prominence to head resonance. 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. [Some] had trouble being heard in a couple of climactic phrases, though not Majeski, whose tone penetrated the texture without sacrificing its beauty.”

James M. Keller, Santa Fe New Mexican

“The rising soprano Amanda Majeski sings this touchstone Straussian role with gleaming, resonant tone and insightful musicianship…”

George Loomis, Financial Times

“Amanda Majeski seems pre-destined to play the Countess. Her cool, secure, limpid soprano is just what Strauss had in mind when he endowed the role with lovely conversational passages, airy flights above the staff, and haunting musings on the philosophies of art and music. Ms. Majeski’s pure tone and knowing, fluid delivery harkens back to great Strauss interpreters of the last century, a direct connection to a revered roster of interpreters. Her traversal of the Countess’s last great monologue was a thing of great beauty, infinite variety, and sublime vocalization. Moreover, Majeski has a regal and poised presence, her carriage leaving no doubt that she is “royalty.” Her achievement is such that she may just be unequalled in this part at the moment.”

James Sohre, Opera Today

“In the lead role of Countess Madeleine, Illinois soprano Amanda Majeski provided the vocal power required to complement Strauss’s soaring melodies and the elegance appropriate for the gentler music of Madeleine’s introspective moment.”

William Burnett, Opera Warhorses

“Majeski scored a triumph as a youthful Countess Madeleine, her silvery tone and aristocratic bearing a pleasure. Her sound is ideal for Strauss, a bit cool in timbre, like a young Gundula Janowitz. Her final monologue was absolutely gorgeous.”

Joseph So, Musical Toronto

“The rising soprano Amanda Majeski sang the role of the Countess with shining, resonant tone and insightful musicianship…”

George Loomis, Opera Magazine

“As the Countess, Amanda Majeski sang her long phrases with free flowing tones that kept their focus as they blossomed out over the audience. A fabulous Strauss singer whose sound recalls German sopranos of the previous era such as Elizabeth Schwarzkopf and Irmgard Seefried, she she portrayed the noble lady as a refined heiress with consummate good taste.”

Maria Nockin, Bachtrack

“Amanda Majeski turns in a sparkling performance as the glamorous Parisian Countess Madeleine. [The voice] has an exceptional flexibility, easily enough to traverse the many vocal hurdles of this difficult role. She gives the final scene, a last meditation on the question of words and music, a transcendent quality.”

D. S. Crafts, Albuquerque Journal

“As Strauss’ multi-faceted, somewhat enigmatic Countess, Amanda Majeski provides a poised central figure. She’s played the vulnerable aristocrat in the past—Countess Almaviva in Mozart’s Figaro. Here Majeski sings from the heart in a role that’s a semi-composite of the composer’s great heroines, the Marschallin and Ariadne. It’s a limpid, lucid portrayal, nowhere more distinctive than in the searching final monologue, Strauss’ most enraptured.”

John Stege, Santa Fe Reporter

Glyndebourne Festival Opera – Die Meistersinger von Nürnberg

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 (fidgeting in the church pew) to end (despair at Walther’s initial rejection of the Guild). The radiant B flat with which she crowned the quintet was perfection.”

Russ McDonald, Opera Magazine

“Amanda Majeski’s ravishingly sung Eva radiates disembodied beauty under the cobbler-poet Sachs’s benediction.”

Michael Church, The Independent

“Amanda Majeski is a lovely, silvery-voiced Eva.”

Richard Fairman, Financial Times

Amanda Majeski (Eva) and Hanna Hipp (Magdalene) both demonstrated those qualities [passion and ardor] abundantly towards Walther and David as the respective objects of their romantic affections; indeed, vocally, they were very similar in tone and excellence.”

Curtis Rogers, Classical Source

“Majeski’s voice has an inhaled ease to it, blooming with no obvious strain or overwork.”

Alexandra Coghlan, The Arts Desk

“Amanda Majeski’s Eva fulfilled most of the promise which she had shown as the Countess in the 2013 Le nozze di Figaro, her touching intonation and unaffected stage presence ideal for Wagner’s ‘little Ev’chen’.”

Melanie Eskenazi, musicOMH

“The American soprano Amanda Majeski was Eva. Reminiscent of Gundula Janowitz, she launched the quintet exquisitely and looked very pretty to boot.”

Rupert Christiansen, The Telegraph

Lyric Opera of Chicago – Der Rosenkavalier

As the Marschallin, Amanda Majeski revealed just the type of glowing soprano voice with which Strauss had a lifelong love affair; Majeski has an ample, pungent instrument with the ability to soar above the staff in long, arching lines and fine down to a thread of pianissimo with seeming effortlessness. Majeski delivered the conversational writing with natural grace. Her musing that we little heed time until all at once we think of nothing else was quite poignantly rendered.”

Mark Thomas Ketterson, Opera News

“Soprano Amanda Majeski was an intriguing Marschallin, projecting gracious authority while struggling with the painful fact that her youth was forever past and gone. An Illinois native and alumna of Lyric’s Ryan Opera Center training program, she sang with a strong, bright, expressive tone. Her seamless lyricism in the opera’s introspective moments conveyed the Marschallin’s essential goodness of heart. In Act III, disgusted by the crude Baron, Majeski’s low vocal line brimmed with scorn.”

Wynne Delacoma, Chicago Sun-Times

“The singer who would succeed at Strauss must possess the freedom of tone necessary to brave the rapidly-shifting musicality of his phrases and the buoyant athleticism of their leaps, while maintaining a narrow delineation of pitch. In the plum role of The Marschallin, Chicago-favorite Amanda Majeski makes short work of this challenge. In the Act I Monologue, “Da geht er hin,” the Illinois-born soprano threads her golden sound fearlessly, with a flawless vibrato like a flicker hovering over a carefully-controlled flame.”

Aaron Hunt, Chicago Theatre Review

“Majeski was exemplary, riding Strauss’s long lines with gleaming tone and confidence. She brought a dignified sadness to her long Act I soliloquy musing on her fading beauty with touching expression. The soprano was ideally poised and affecting vocally and dramatically in the final trio as she yields her young lover to a woman his own age.”

Lawrence A. Johnson, Chicago Classical Review

“Amanda Majeski regally embodies the Marschallin. Her tall, slender figure and fair skin are a natural fit for the role, but it is her exquisite tone and vocal technique that makes the performance so absolutely enchanting. When Koch and Majeski are joined onstage by Christina Landshamer’s Sophie for Der Rosenkavalier’s finale, the resulting trio is heavenly and sublime.”

Barnaby Hughes, Stage and Cinema

“Majeski has a way of sliding languidly into notes, letting them come upon her in a way that projects immense self-assurance. Her creamy tone sits beautifully atop Edward Gardner’s direction of the orchestra.”

Dan Wang, Bachtrack

“In the key role of the Marschallin, Lyric is blessed with the presence of soprano Amanda Majeski. Her work here is sheer perfection. She has clearly mastered the character’s many moods, from her flirtatiousness with Octavian following their liebesnacht in her bedroom at the start of the first act to her gracious philosophical resignation in the trio of the last. Majeski has a voice of both warmth and power, enabling her to make herself heard over Strauss’s large orchestra while still floating ethereally over more intimate scenes. She simply could not be better in this role.”

Chuck Lavazzi, Stage Left

“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, aka the Princess von Werdenberg, wife of a field marshall in Imperial Vienna. The Illinois-born Majeski carried herself with great poise and grace as she lofted creamy tone and ravishing pianissimos into the stratosphere, and she was touching in her character’s rueful monologue about the passage of time. She earned herself an extended ovation Monday.”

John von Rhein, Chicago Tribune

Ópera de Oviedo – Le nozze di Figaro

The American soprano Amanda Majeski has a deep understanding of the role of the Countess Almaviva, which imbues it with an extraordinary delicacy. The Countess created by Majeski has the melancholic touch of a woman in love, forced to lie and engage in intrigue in order to to return to the arms of her Count. Especially in the arias ‘Porgi amor’ and ‘Dove sono’ she achieves a very beautiful rendering. She was much applauded and sang with a Mozartian voice of the highest quality.”

El Comercio

“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

Lyric Opera of Chicago – Le nozze di Figaro

Luca Pisaroni and Amanda Majeski are both fine Mozarteans… Majeski sings with her customary poise, her creamy soprano blending beautifully with that of German soprano Christiane Karg.”

John von Rhein, Chicago Tribune

“His adoring, long-suffering, elegant wife, Countess Almaviva is Illinois-born soprano Amanda Majeski. The Countess’ pain is dealt with comically early on as she gorges sweets on the gargantuan bed she once shared with her husband. But some of the opera’s most moving moments (and most exquisite singing) come when she recalls the joys of her earlier days of passion with the Count, and then, in a duet with Susanna, she dictates a love letter suggesting an assignation between Susanna and the Count.”

Hedy Weiss, Chicago Sun-Times

“Amanda Majeski sang “Porgi amor” with delicate but resonant pathos and fluid evenness across registers.”

Tim Sawyier, Chicago Classical Review

“Majeski’s soprano is both luminous and ringing, and in the heart-breaking aria “Dove sono,” she moved convincingly from aching despair to a firm resolve to recapture the Count’s affection.”

Wynne Delacoma, Musical America

“From one of the evening’s first gestures – Amanda Majeski, stately as the Countess, pulling the curtain down instead of letting it rise – one knew that this production would play up the opera’s mischievousness no less than its spectacle. But the Versailles bordello aesthetic that runs through much of this production’s visual style didn’t come close to overshadowing the vocal talent, which is very strong. Majeski’s trilling vibrato is most distinctive…”

Dan Wang, Bachtrack

“Pisaroni is well-matched by Amanda Majeski, whose noble heart redeems her wayward husband. Her tender and delicate singing approaches the transcendent, from the poignant solo aria “Porgi amor” to the breathtaking duet “Sull’aria” (with Christiane Karg).”

Barnaby Hughes, Stage and Cinema

“Amanda Majeski’s Countess Almaviva proved the high point of the evening. She inhabited her role in such a way that its essence was illuminated, transcending the ludicrous stage business thrust upon her. Majeski exuded a radiant humanity that strongly recalled the late Elisabeth Soederstroem (and what a Jenufa or Katya Kabanova Majeski may prove to be!). Her account of the fiendishly difficult “Dove sono” was notable for poise and polish, luminously sung and launched with a grandly phrased, deeply felt recitative. In a still young career, Majeski has moved from strength to strength, justifying Lyric Opera’s confidence in its former Ryan Opera Center member.

Oper Frankfurt – Der Rosenkavalier

For her first Marschallin, Amanda Majeski delivers a top flight performance, reconciling youthfulness and experience, power and fragility.”

Nicolas Blanmont, Opéra Magazine

“The direction of the work, the longing for Mozart that Strauss fulfilled to a certain extent, is actually revealed by the singing. In this respect, the Frankfurt Opera leaves no wish unfulfilled. You do not have to wait until the final trio by Amanda Majeski in her role debut as a supremely proud Marschallin, Paula Murrihy as a reluctant Octavian, and Christiane Karg as a shyly defiant Sophie, to recognize that the quality of singing not only depends on the individual voices, but how the voices complement one another. The fusion of sound that these three artists achieve is likely what Richard Strauss had in mind when he abandoned himself in the quicksand modulations to create his most lavish score. Amanda Majeski is an ideal Marschallin in appearance, noble gestures and bewitching melodies…”

Wolfgang Sander, Frankfurter Allgemeine Zeitung

“Soprano Amanda Majeski as the Marschallin sings with great tenderness and weightless piano tones.”

Kirsten Liese, BR Klassik

“Amanda Majeski is a young, slender, ghost-like Marschallin: she moves through the action as a tender, injured girl (even in scenes where she has nothing to sing), dominates the senses with a lyrical intensity, and does the major vocal climaxes full justice.”

Hans-Klaus Jungheinrich, Opernwelt

“And the music is a great pleasure in Frankfurt.  First and foremost Amanda Majeski, who wanders through the sanatorium like a ghost, but her wonderfully beautiful soprano voice always blooms.”

Martin Gruenberg, Deutschlandfunk

“Even the singing is on a consistently homogenous top level: Amanda Majeski shines with a delicate fragility as the Marschallin at all intensities.”

Michael Dellith, Frankfurter Neue Presse

“The suspended lyrical cantabile singing of soprano Amanda Majeski’s Feldmarschallin is the epicenter of the staging.”

Stefan Michalzik, Hessische-Niedersächsische Allgemein

“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

“Soprano Amanda Majeski offers an amazing role debut here, full of character and equally fragile. In addition, she takes into consideration some of the most beautiful love-sighs conceived in the history of music.”

Klaus Ackermann, Offenbach Post

“Amanda Majeski embodies this woman in an extremely radical approach as vulnerable, already long since injured, alienated by life…The Marschallin glides through the action almost like a shadow, a false sense of girlishness and faint at the same time, silent and ghostly as well as observing many scenes where she does not sing. The young American, visually a petite slender sister of symbolist Böcklin or Segantini nymphs, sings the Marschallin with graceful, easy lyrical intensity, which does not fail when the dynamic surges. In all her beautiful sickness to death (Thomas Mann says hello) she accomplishes in the final act the miracle of arranging all things as an authority figure: the inglorious grand waltz of the departure of Ochs, the entertainment of the hypertensive Faninal, and the heavy-hearted blessing of the young couple.”

Hans-Klaus Jungheinrich, Frankfurt Rundschau

“Soprano Amanda Majeski is one of the most ideal interpreters of this main character available. She surpasses the most celebrated Marschallin of our day, even with technique and soulful expression.”

Dieter David Scholz, Deutschlandradio Kultur

Lyric Opera of Chicago – The Passenger

Marta [is] the radiant soprano Amanda Majeski. Heading a superb ensemble, Majeski makes something immensely touching of Marta’s final soliloquy in which she serenely recalls her lost friends from the camp, declaring that all who suffered must never be forgotten and those who caused their suffering must never be forgiven. Her singing is pure, shining and true. She has done nothing finer at the company that launched her international career.”

John von Rhein, Chicago Tribune

“Soprano Amanda Majeski, a stellar alumna of Lyric’s Ryan Opera Center, was simply luminous as the 20-year-old Marta. Her ringing soprano glistened like Waterford crystal, combining transparent fragility with soulful strength.”

Wynne Delacoma, Chicago Sun-Times

“Weinberg’s score is by turns lush and spare (it recalls Shostakovich, who was a great fan of this score), showcasing the singing. The cast is excellent, but special praise goes to Amanda Majeski as the prisoner Marta, who balances virtuosic singing with raw emotion that is frankly devastating.”

Hank Sartin, Crain’s Chicago Business

“The standout by a mile this evening was Amanda Majeski, who sang the survivor’s role with silky depth and an extraordinary control of dynamic range. She really knows how to scale her power; especially when the role opens up in Act II, Majeski’s style, with its tapered onsets and ringing vibrato, seemed an extension of Marta’s increasing resolve and emotional directness.”

Dan Wang, Bachtrack

“Marta [is] a role Amanda Majeski brings to life with impeccable style and effective acting. Majeski elicits passion from the sometimes spare score, and the note-perfect second-act duet with her fiancé Tadeusz (Joshua Hopkins) stands out for its dissonant lyricism. The intensity she offers at the end is notable for her piano and pianissimo tones, which are rich and reverberant.”

James L. Zychowicz, Seen and Heard International

“Majeski’s Marta was far from the one-dimensional angel found so often on the opera stage. There was a wonderful edge to her gleaming soprano, a combination of fragility and strength like that of intricately cut glass. Even in the opera’s closing scene, with Auschwitz far behind her, profound sadness colored Marta’s final, mesmerizing song. Soothed by the peaceful silence around her and confident that love endures, Marta indeed embodies the triumph of the human spirit. But clearly, the battle has left deep, indelible scars.”

Wynne Delacoma, Musical America

“Amanda Majeski is already on a fast track to a major career, but as Marta, the former Ryan Opera Center member delivered a shattering, star-making performance. The soprano delivered the goods with fearless dramatic commitment. Head shaved and unglamorous, she sang Marta’s interior arias with luminous tone and touching fragility, rising to her final aria with vocal strength and a well of great sadness.”

Lawrence A. Johnson, Chicago Classical Review

“Lyric’s multilingual run (characters sing in the language of their homelands) is also benefiting from an excellent performance by—in what might well be the role of her life—soprano Amanda Majeski as a spectral and spectacular incarnation of Marta/Zofia.”

Deanna Isaacs, Chicago Reader

The Metropolitan Opera – Le nozze di Figaro

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, The New York Times

“Majeski makes a promising debut at the Met as the Countess, the voice of somber reality amid all the frivolity. Her “Dove sono”, one of Mozart’s loveliest arias, is full of wistful longing that cuts to the heart.”

Wilborn Hampton, Huffington Post

“The Countess is sung by Amanda Majeski, whose large, overtone-rich voice captures the character’s grand and refined ardor. The emotional intensity of Rosina’s impassioned aria of love for her husband (“Porgi amor”)—which Majeski sang with a blend of accuracy and intensity that justly brought the house down—wouldn’t be out of place in Verdi. It’s actually the Countess, with a simple stroke of moral nobility, who turns, with the suddenness of revelation, into the opera’s heroine.”

Richard Brody, The New Yorker

“In her Met debut, Amanda Majeski was captivating as the long-suffering Countess Almaviva, whose arias throbbed with beauty and anguish.”

Joe Dziemianowicz, New York Daily News

“Majeski sings the Countess with a slightly acid timbre and a tender manner. She is the only adult in a household full of children, casting an amber glow of melancholy on all the uproarious games. Eyre has wrangled all these singers into a performance that feels at once spectacular and intimate. When Majeski sings her tour de force of wistfulness, 3,800 people can feel as if the Countess were unburdening herself only to them.”

Justin Davidson, New York Magazine

“Amanda Majeski made about as high profile a house debut as one can as the Countess… Her regal presence and distinctive soprano — warm, limpid and well-projected without sounding heavy — marked an artist with real potential. Her “Dove Sono” — intelligently staged near an imposing, empty dining table that seemed to represent her state as a noblewoman — affectingly communicated the fragility of a young, neglected wife.”

Ronni Reich, New Jersey Star-Ledger

“…Majeski brings a melancholic longing glazed with a layer of hope to the Countess. Her phrasing feels effortless and natural. The two women [Majeski and Marlis Petersen] come together in a shimmering “Sull’aria,” their voices seamlessly blending, breaking away, and then converging again. It’s a magical moment of exquisite texture and near-perfect dynamics.”

Zachary Stewart, TheaterMania

“The young soprano Amanda Majeski, in her Met debut as the Countess, understandably showed signs of nerves, yet her cool, shimmering voice made an impression.”

George Loomis, Financial Times

“The splendidly matched ensemble cast was a strong theatrical and musical team… In her Met debut, Amanda Majeski looked beautiful as the wistful, ill-treated Countess. Her fresh, sunny soprano…emphasized the youth of her character and the newness of her disappointment…”

Heidi Waleson, The Wall Street Journal

Oper Frankfurt – A Village Romeo and Juliet

Amanda Majeski’s lyrical and desperate Vreli totally convinced…”

Jöm Florian Fuchs, Die Welt

“The Finnish tenor Jussi Myllys and American soprano Amanda Majeski both looked feasibly youthful and sang their roles with convincing ardor, portraying their characters’ enveloping mutual attraction most affectingly.”

Matthew Rye, Opera Magazine

“Two big guest vocalists make the evening of sung English an exciting experience: first and foremost the American Amanda Majeski, who has already impressively performed in Frankfurt as Humperdinck’s Goose Girl and Dvorák’s Rusalka. Her Vreli impresses with painful intensity while maintaining an intimate innocence in her singing.”

Bettina Boyens, Geißener-Allgemeine

“An excellent impression was made by Amanda Majeski as Vreli with her slim, but very viable, shiny focused lyric soprano voice — it will be interesting hear her Marschallin in the next season…”

Thomas Tillmann, Online Musik Magazin

“In the course of six scenes everything is focused…on the beguilingly melismatic and charming lyrical voice of Amanda Majeski as Vreli.”

Axel Zibulski, Allgemeine Zeitung

“Amanda Majeski is an intense, clear and nuanced Vreli, and Jussi Myllys’ lyric tenor is always luminous. One can hardly think of a better eponymous pair.”

Hans-Jürgen Linke, Frankfurter Rundschau

Opera Philadelphia – Don Giovannia

Donna Elvira, sung by Amanda Majeski, was a revelation. A strange figure, Donna Elvira, but made human by Majeski’s devastating rendition of her plight.”

Marakay Rogers, Broadway World

“But the only truly compelling singing came from characters that are the most likely not to go well: Amanda Majeski’s Donna Elvira had wonderful vocal and psychological specificity instead of the more typical blustering…”

David Patrick Stearns, Philadelphia Inquirer

“The two best solo turns — Amanda Majeski’s lovely, fluent Elvira and David Portillo’s admirable, long-breathed Ottavio — were phrased and decorated with distinction and style. These two merited any international stage vocally; plus Muni gave their characters arcs (Ottavio, for once, almost emerged the opera’s tragic hero) that they traced with skill.”

David Shengold, Opera News

Lyric Opera of Chicago – La clemenza di Tito

Vitellia is the dramatic linchpin of Clemenza, and Majeski, another Ryan Center alum, brings fearless vocalism and feistiness to the royal schemer… 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

“Amanda Majeski made quite a splash with her Vitellia at Chicago Opera Theatre several years ago, and her gleaming upper register and now-beefier chest voice in the role negotiated the leap to LOC’s 3,563-seat theatre to excellent effect.”

Mark Thomas Ketterson, Opera News

As Vitellia, Amanda Majeski was similarly impressive, even stylish, with an even range that resonated clearly, even as she faced the sometimes challenging vocal lines. Her first-act duet “Come ti piace, imponi” was commanding, and set the dramatic and musical tone from the start. Yet her second-act aria “S’altro che lacrime” was even more powerful; its wide range does not always receive the low tones and rich high notes that Majeski gave. It was an impeccable performance, both technically and interpretively.”

James L. Zychowicz, Seen and Heard International

“The exceptional Amanda Majeski and Joyce DiDonato bring the phrases into relief through the sheer distinctiveness of individual musicality. Majeski has the rare ability to hear the length of each note as if from within, letting each sound find its necessary amplitude and decay. Her expressiveness has its gravity around the middle of a note rather than its beginning. Thus, when the two sing together, they can produce natural and apparently minimally tampered-with phrases that nevertheless sound absolutely individual.”

Dan Wang, Bachtrack

“Lyric Ryan Center alumna soprano Amanda Majeski, COT’s Vitellia in 2009 and now embarked on an international career, is a striking and serious counterpart to DiDonato, and their voices and characters play off each other like powerful magnets. Majeski, too, has the round, low end of the range demanded by this part.”

Andrew Patner, Chicago Sun-Times

“Amanda Majeski, who sang Vitellia several seasons ago with Chicago Opera Theater, was commanding in the role Wednesday night. Her soprano is big and bright, and in her love duets with DiDonato she unspooled Mozart’s sensuous melodies and ornaments like a practiced courtesan, wrapping Sesto in her caressing song. In Vitellia’s final aria, however, Majeski sang fully into a low, dusky register that eloquently conveyed the princess’ intense regret for her crimes.”

Wynne Delacoma, Musical America

Opernhaus Zürich – Faust

The American…thrilled with her expression, ranging from trepidation about her europhora to depression, and a soprano voice that finds the matching colors for all emotional states.”

Thomas Schacher, Neue Zürcher Zeitung

“Amanda Majeski managed to imbue her Marguerite with a quiet strength in her short opening scene. Later, her ballad of the King of Thulé was a miracle of muted sadness, interspersed by musings — delivered with utter naturalness — on her brief encounter with Faust. The more passionate pages of their glorious love duet revealed a voice of surprising power at times, which stood her in good stead in the church scene and (thrillingly) in the final trio.”

Martin Wheeler, Opera News

Oper Frankfurt – Rusalka

Amanda Majeski gives a romantic portrait of the Nixie on one hand, but on the other, that of a modern woman. Her crystalline voice offers a powerful, almost jugendlich dramatische design, but is also capable of warm, lyrical tones in the ‘Song to the Moon’.”

Friedeon Rosén, Der Neue Merker

“The American soprano Amanda Majeski has become a Frankfurt regular, and from her radiantly sung and subtly acted Rusalka one can readily hear and see why. She is a seductive siren incarnate, with a slightly glacial streak to suggest a menacing, inhuman quality. Her Song to the Moon was ravishing.”

Hugh Canning, Opera Magazine

“Amanda Majeski is an ideal Rusalka, bringing great warmth to her middle register, but capable of bone-chilling high notes.”

Eleanor Büning, Frankfurter Allgemeine Zeitung

“Whether in mermaid or human form, Amanda Majeski dominated the action. Her soprano tackled the high notes effortlessly, touching the ‘Song to the Moon’ with a deep sorrow.”

Klaus Ackermann, Offenbach Post

Glyndebourne Festival Opera – Le nozze di Figaro

“Amanda Majeski’s Countess is dignified and moving; her performance of ‘Porgi, amor’ is poised but deeply reflective (as opposed to the sense of borderline-boredom that sometimes overshadows this aria) and a great showcase for her rich, resonant soprano.”

Laura Battle, Financial Times

“American soprano Amanda Majeski is a believably neglected Countess and her slightly dark but very warm tone serves the character extremely well. She is suitably sad and rather touching in ‘Porgi, amor’ and her longing…is very real and moving when she delivers the sublime ‘Dovo sono’.”

Margarida Mota-Bull, Seen and Heard International

“[The] tendency to melt at every mention of the Countess is admittedly understandable when the lady in question is the willowy Amanda Majeski, irresistible even when briefly tested by her Act 2 coloratura, superb in ‘Porgi, amor’ and, especially, ‘Dove sono’.”

Stephen Walsh, The Arts Desk

“It will be very surprising if…Amanda Majeski’s Countess [does] not become [a] well known feature of all the other leading opera houses…her singing was eloquent and touching.”

Melanie Eskenazi, Music OMH

Lyric Opera of Chicago – Die Meistersinger von Nürnberg

“Ryan Center alum Amanda Majeski brought a bright, strong soprano to the role of Eva. Tall and slim, she was an elegant young lover, but also a warm-hearted daughter and friend.”

Wynne Delacoma, Chicago Sun-Times

“Soprano Amanda Majeski, one of the Lyric Ryan Opera Center alumni who have gone on to successes elsewhere, used her radiant soprano and tall, willowy figure to advantage as a properly gentle and loving Eva.”

John von Rhein, Chicago Tribune

“Amanda Majeski was a stalwart Eva in temperament and vocal color…”

Dennis Polkow, New City Stage

“Amanda Majeski was equally effective as Eva, bringing clear delivery and idiomatic phrasing, and her dialogue with Sachs in the third act (‘Sieh, Evchen!’) was particularly memorable. But in addition to her fine singing, Majeski was convincing as an actress. Her affinity with Sachs was evident, as well as her excellent ensemble work with tenor John Botha…”

James L. Zychowicz, Seen and Heard International

“Amanda Majeski’s ample, youthfully feminine soprano registered beautifully in Eva’s music.”

Mark Thomas Ketterson, Opera News

Oper Frankfurt – Königskinder

“The Goosegirl, sung with naiveté and warm fervor by the high, angel-voiced soprano Amanda Majeski, is the most musically convincing performance this first night has to offer.”

Eleonore Büning, Frankfurter Allgemeine Zeitung

“In her Frankfurt debut, Amanda Majeski portrays the Goosegirl with grace and delicate expression, and the lyrical phrases of her soprano voice enchant.”

Eckhard Britsch, Opernnetz

“As the Goosegirl, Amanda Majeski effortlessly soars over the orchestra with introspective lyricism and fully-supported pianissimi…”

Juan Martin Koch, Neue Musikzeitung

“Amanda Majeski, as the Goosegirl, offers a clear, richly expressive and touching soprano, particularly in the moments of great sorrow.”

Klaus Ackermann, Offenbach Post

“Amanda Majeski gives this figure innocent attributes. Her humanistic and vocal greatness is expressed in chaste silence.”

Andreas Bomba, Nassauische Neue Presse

“Amanda Majeski carries the soul on the vocal cords. Her strength is the sotto voce. Out of womanly fullness, her soprano blossoms delicately, to be easily gathered with an erotic and foreboding full vibrato.”

Boris Kehrmann, Opernwelt

Teatro Real – La clemenza di Tito

“The other big success was American soprano Amanda Majeski. Vitellia is a very difficult role — with an impossible tessitura, highly demanding at both ends of the range. Amanda Majeski excelled in it from start to finish. Her soprano is attractive, smooth, and with a great extension which allows her to meet the immense demands of the character. And apart from being a remarkable singer, she is also a first-rate performer.”

José Maria Irurzun, Seen and Heard International

Semperoper Dresden – Alcina

“The Semperoper Dresden triggered much applause with its staging of Handel’s opera Alcina. After Amanda Majeski’s second act aria ‘Ah, mio cor’ at the premiere on Saturday night, a fan shouted “wunderbar!” — the highest praise one can receive from the Dresden audience. In fact, the aria sparkled like the glitter on her dress…she was celebrated like a pop star.”

Sächsische Zeitung

“To fill all the roles with singers from the ensemble of the Semperoper is a gamble — but one that has paid off. Of course, no one here gets slim, lightweight, non-vibrato baroque singing — but all the more vocal strength, expression and color. Above all, Amanda Majeski as Alcina was most effective in her furious outbursts of anger and equally touching in her desperation.”

Masha Drost, Deutschlandradio

“Amanda Majeski should not be afraid to be compared with the current great interpreters of Alcina. One would have to search long for such convincing and interpretive magic.”

Joachim Lange, Mitteldeutsche Zeitung

“The discovery of the evening is of course Amanda Majeski as Alcina. How she managed the half-dozen arias, nuanced and always with the necessary stage presence, is a talent not so easy to find. The young American is new to the Semperoper ensemble and one can expect more surprises from her in the future.”

Michael Ernst, Neueu Musikzeitung

Santa Fe Opera – Griselda

“The bright-voiced soprano Amanda Majeski showed winning flair in the trouser role of Ottone…unconstrained by the protocol of any court.”

Anthony Tommasini, New York Times

“The singing is excellent, especially from Isabel Leonard as Costanza, who has the best arias, and Amanda Majeski as Ottone…”

George Loomis, Financial Times

“Soprano Amanda Majeski…sang gloriously in the trouser role of Ottone.”

Sarah Bryan Miller, St. Louis Post-Dispatch

“Baroque opera, ultimately, is about singing, and most of the cast rose to the challenges… Standouts include Amanda Majeski, nimble and finely focused in the drag role Ottone…”

Scott Cantrell, Dallas Morning Star

“Amanda Majeski, as the villainous Ottone, simply astonishes, especially in her extraordinary final aria.”

John Stege, Santa Fe Reporter

“The soprano Amanda Majeski as Ottone, vainly attempting to woo the disgraced Griselda, brilliant embodies a young man of inflamed desires. Her ‘Dopo un’orrida procella’ sparkles with virtuoso pyrotechnics.”

D.S. Crafts, ABQ Journal

“[Isabel Leonard] shared the biggest ovations of the evening with Amanda Majeski, who sang Ottone, Griselda’s unusually threatening other suitor, with a beautiful lyrical ease.”

Pittsburgh Opera – Dialogues des Carmélites

“Amanda Majeski offered a brilliantly nuanced performance as Blanche. Her timbre was clear but not cold. Her voice no less than her stage presence made Blanche a totally sympathetic character.”

Mark Kanny, Pittsburgh Tribune

“Soprano Amanda Majeski sang the confused Blanche like a candle flame — flickering, but revealing a hot core.”

Andrew Druckenbrod, Pittsburgh Post-Gazette

Opera Theatre of St. Louis

“As the Countess, Amanda Majeski…turn[ed] in a commanding performance. Majeski combined sumptuous yet stylish phrasing and glamorous vocalism to present a youthful, impetuous, passionate Countess.”

Judith Malafronte, Opera News

“Fortunately, Amanda Majeski’s Countess is worth listening to and includes an affecting, warmly voiced ‘Dove sono’…”

George Loomis, The Classical Review

“Amanda Majeski elicits sympathy as the neglected Countess, her voice soaring on occasion as she decries her fate.”

Chris Gibson, Broadway World

“As the Countess, soprano Amanda Majeski sang well and easily won our sympathies.”

Sarah Bryan Miller, St. Louis Post-Dispatch

Lyric Opera of Chicago – Le nozze di Figaro

“Majeski was instantly Cinderella-fied as the Countess Almaviva. [Her] silvery voice tackled some of the opera’s most difficult passages with a dignified melancholy that matched the role…on this night, Majeski owned the stage.”

Nora O’Donnell, Chicago Magazine

“Majeski scored another personal success with a Mozart role. The young soprano displayed unquestionable vocal talent, managing the whole role with apparent sangfroid, technical control, and a radiant high register…she accomplished the task admirably, showing at the same time huge potential for her future career. For sure, she proved to be an artist to be followed with great attention.”

Claudia Vellutini, Mundoclassico.com

Chicago Opera Theater – La clemenza di Tito

“Vitellia demands a dramatic soprano with a range of more than two octaves, an incisive attack and full-throttle intensity; all three were Amanda Majeski’s to command, and she made a tour de force of her Act 2 aria.”

John von Rhein, Opera Magazine

“Majeski threw herself into Vitellia’s neurotic edginess, making her Act 2 confessional a genuine tour de force that brought down the house.”

John von Rhein, Chicago Tribune

“And what a cast. When Amanda Majeski…starts to sing as the distraught Vitellia, you wonder if she’s not some ringer from the Golden Age. This George London Award winner, with a voice that’s big, seductive and characterful, has the goods.”

Andrew Patner, Chicago Sun-Times

“Amanda Majeski sang an extraordinary Vitellia, 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’.”

Mark Thomas Ketterson, Opera News

“Amanda Majeski’s Vitellia was a villain to remember. Tall, slim, with a bright, focused soprano that rang through the theater, she swerved between arrogant confidence and panicked doubt. In her final scene, cringing in a corner, she confesses her treachery to Tito in a dazzling outpouring…”

Wynne Delacoma, Musical America

San Francisco Opera Merola Program – Don Giovanni

“Most dazzling to these ears was the Donna Anna of soprano Amanda Majeski, a performance marked by refined power, effortless dynamic control and warm tonal color. Everything she did commanded attention, from her explosive contributions in the opening scene to the final rueful ‘Non mi dir’. But it was Majeski’s rendition of ‘Or sai chi l’onore’, the gripping moment when Donna Anna realizes at last that it was the title character who assaulted her and murdered her father, that lingered longest in the memory. It was a superbly conceived performance, full of rage and shame and delivered in firm, potent tones.”

Joshua Kosman, San Francisco Chronicle