About
Internationally renowned American soprano Amanda Majeski is a celebrated interpreter of Mozart, Strauss, Wagner and Handel. She is also highly acclaimed for her portrayal of Janáček’s Káťa Kabanová, making her debut with that role at the Royal Opera House, Covent Garden (Best New Opera Production at the 2019 Olivier Awards), and having been described as “Katya of the moment," following the London Symphony Orchestra concert performance conducted by Sir Simon Rattle in 2023.
Ms. Majeski began the 2024-2025 in an anticipated return to the role of Strauss’ Salome with Semperoper Dresden. She also joined the Madison Symphony for Strauss’ Four Last Songs and Mozart’s Requiem, and celebrated the centennial of her alma mater, the Curtis Institute of Music, both in residence as a visiting instructor and in recital for a special gala performance.
Forthcoming engagements include appearances at the BBC Proms in Shostakovich’s Lady Macbeth with the BBC Philharmonic Orchestra, and with Rundfunk-Sinfonieorchester Berlin, and with Opera Frankfurt
During the 2023-24 season, Majeski made returns to the Teatro Real Madrid as Marta in the Spanish premiere of The Passenger, and to the Semperoper Dresden, as Káťa in a new production directed by Calixto Bieito. She also gave a solo recital at Opera Philadelphia's O23 Festival and returned to the Tanglewood Music Festival as Gutrune in the final act of Wagner's Götterdämmerung, paced by Andris Nelsons.
Amanda Majeski’s 2022-2023 season brought an exciting role debut as Salome, which she sang with Madison Opera in her home state of Wisconsin. She sang Bernstein's Kaddish Symphony with Teddy Abrams and the Louisville Orchestra and performed Beethoven's Ninth Symphony at the Tanglewood Music Festival with conductor Susanna Mälkki.
Majeski made her Metropolitan Opera debut as Countess Almaviva in a new production of Le nozze di Figaro, returning for a revival of Don Giovanni conducted by Fabio Luisi and new production of Così fan tutte under David Robertson. She made her mainstage debut with the Lyric Opera of Chicago as Countess Almaviva with conductor Sir Andrew Davis, returning as Vitellia in La clemenza di Tito, Eva in Die Meistersinger von Nürnberg, The Marschallin in Der Rosenkavalier, Marta in The Passanger and Donna Elvira in Don Giovanni. She sang Blanche de la Force in Dialogues des Carmélites for Pittsburgh Opera, Countess Almaviva in her debut for the Washington National Opera, and Countess Madeleine in Capriccio, Der Komponist in Ariadne auf Naxos and Fiordiligi in Così fan tutte for the Santa Fe Opera. Majeski made her European debut at the Semperoper Dresden, where she performed in new productions of Alcina and La clemenza di Tito, along with revivals of Le nozze di Figaro and Capriccio. She has bowed as Vitellia for Opéra de Paris, Donna Elvira with Dutch National Opera, Countess Almaviva and Eva for the Glyndebourne Festival Opera, the title role Rusalka and her first Marschallin for Oper Frankfurt, made her debut with the Opernhaus Zürich as Marguerite in Faust, and appeared at the Staatstheater Stuttgart and Teatro Colón.
Majeski sang Gutrune in a concert performance of Götterdämmerung with the Hong Kong Philharmonic and Jaap van Zweden that was released on Naxos Records. Other concerts include Beethoven Symphony No.9 with the Los Angeles Philharmonic (Gustavo Dudamel) and Sydney Symphony Orchestra, Britten War Requiem with the Boston Symphony Orchestra (Antonio Pappano), Strauss Vier letzte Lieder at Marian Anderson Hall Philadelphia, National Concert Hall Dublin and with the Nürnberger Symphoniker, Berg Sieben frühe Lieder and Mozart Requiem with the Sinfonieorchester Aachen and Wagner Wesendonck Lieder with the Chicago Symphony Orchestra. Her many recital appearances have included Italienisches Liederbuch at 92nd Street Y with pianist Julius Drake and her solo recital debut at Carnegie Hall.
Amanda Majeski currently serves on the faculties of DePaul University and her alma mater, the Curtis Institute of Music. She previously held the position of Assistant Professor of Voice at the University of Michigan. A frequent adjudicator and clinician for Schmidt Vocal Arts, she has also served as a guest clinician at Boston University Tanglewood Institute, Interlochen Arts Camp and Academy, Taos Opera Institute, and the Collaborative Piano Institute. Current and former students have scored coveted positions at Wolf Trap Opera, Lyric Opera of Chicago, the Steans Institute at Ravinia, Aspen Opera Theatre and Music Academy of the West, as well as the Collaborative Piano Institute, Taos Opera Institute and Musica nelle Marche. They are award winners of the National Association of Teachers of Singing, the district Metropolitan Opera National Council Auditions, Musicians Club of Women, and University Concerto Competitions.