“Amanda Majeski brought a bright, focused soprano to Fiordiligi; her introspective ‘Per pietà, ben mio, perdona’ was a masterpiece of subtle coloration.”
Heidi Waleson, The Wall Street Journal, March 19, 2018 - Fiordiligi in 'Così fan tutte' at the Metropolitan Opera
Internationally renowned American lyric soprano Amanda Majeski is rapidly garnering critical acclaim for a voice of “silvery beauty” (Musical America), “sings with remarkable commitment and radiance of tone...She sounds exquisite.” (The Guardian), and “Majeski’s well-rounded soprano...is so warm and glorious, the singing so outstanding, that she leaves no emotions unstirred.” (Financial Times) Her 2019-20 season includes four debuts with the Nürnberger Symphoniker, New York Philharmonic, Teatro dell’Opera di Roma, Teatro Real Madrid and performances with Lyric Opera of Chicago.
Majeski’s season commences with her debut with the Nürnberger Symphoniker bringing her Straussian expertise to...
“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
“Amanda Majeski made the best Eva I have heard in years, true of pitch and pure of tone, comfortable in all reaches of the part and emotionally persuasive from beginning to end. The radiant B flat with which she crowned the quintet was perfection.”
Russ McDonald, Opera Magazine, June 2016 - Eva in 'Die Meistersinger von Nürnberg' at Glyndebourne Festival
“Vitellia was Amanda Majeski, a soprano with confident high notes supported by a bronzed, solid middle voice. The character is unsympathetic, and Majeski did not try to make Vitellia more reasonable than Mozart and Metastasio did. She portrayed a ruthless, cruel, cunning woman, who only at the end is overwhelmed by shame and remorse, and even then, her first thought is "What will people think of me?" Her "Non più di fiori" stopped the show.”
Laura Servidei, BachTrack, November 20, 2017 - Vitellia in 'La clemenza di Tito' at Paris Opera
“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, February 9, 2019 - Title role in 'Káta Kabanová' with Royal Opera House
“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 (UK), February 6, 2019 - Title role in 'Káta Kabanová' with Royal Opera House
