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. 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. 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. 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. The season closes with her reprisal as Marta in Weinberg’s The Passenger at Teatro Real Madrid for its Spanish premiere-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.”
Her season continues with a debut with Teatro dell’Opera di Roma, as the title role in Janáček’s Káťa Kabanová. She will also perform Hugo Wolf’s Italienisches Liederbuch at the 92nd Street Y, alongside bass-baritone Philippe Sly and pianist Julius Drake. She then returns 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 her debut with the New York Philharmonic as a soprano soloist in Mozart’s Mass in C minor under the direction of Jaap van Zweden. Majeski’s season commences with her debut with the Nürnberger Symphoniker bringing her Straussian expertise to his “Vier letzte Lieder” conducted by Kahchun Wong.
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.
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