AmandaMajeski

Press

• Kát'a Kabanová Concert | LSO cond. Sir Simon Rattle

  The Barbican Centre

  Jan 2023

  • She’s an artist of the highest calibre, with a glorious voice, ample, opulent in tone and wonderfully expressive over a wide dynamic range. But without Jones’s at times distracting interventions, her portrayal of Katya’s emotional collapse became even more harrowing in its veracity and immediacy.

    • Tim Ashley, The Guardian
    • 13 January 2023

  • …it would not be easy to find the role better sung, warm, sensitive, always projecting over the orchestra and, most importantly, glowing with lyrical beauty.

    • Richard Fairman, The Financial Times
    • 12 February 2023

  • Majeski inhabited the role of Katya with every facial feature, but it was the voice which truly amazed. Angelic at first, then in Act III more dramatic. Majeski has also sung the role at the Concertgebouw, in Chicago and elsewhere. She must be the Katya of the moment.

    • John Rhodes, Seen and Heard International
    • 12 January 2023

• Kát'a Kabanová | Janáček

  Royal Opera House

  Feb 2019

  • 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
    • 06 February 2019

  • 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
    • 09 February 2019

  • Majeski, in one of the finest house debuts of recent years, sings with remarkable commitment and radiance of tone, probing Kát’a’s tortured psyche and crises of conscience with unflinching veracity.

    • Tim Ashley, The Guardian
    • 05 February 2019

  • 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 basic 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
    • 05 February 2019

• Donna Elivira | Don Giovanni | Mozart

  Lyric Opera of Chicago

  Nov 2019

  • Eminent Mozartian Amanda Majeski is a compelling Donna Elvira, with consummate style in capturing nuances and the dramatic acumen to deliver it all. Majeski’s rich, textured voice, even range, and spectrum of dynamic levels kept the audience rapt, offering subtleties that few singers do. Majeski was firmly in command, from her entrance aria (‘Ah, chi mi dice mai’) through the finale ensemble.

    • James Zychowicz, Seen and Heard International
    • 03 December 2019

  • As a flame-haired Donna Elvira, Giovanni’s rejected conquest turned relentless stalker, Amanda Majeski had her finest Lyric outing … delivering Elvira’s arias with tonal gleam and fluent agility. Dramatically she kept a fine balance as well, alive to the character’s comic absurdity yet presenting her as a real, conflicted woman

    • Lawrence A. Johnson, Chicago Classical Review
    • 15 November 2019

• Fiordiligi | Così fan tutte | Mozart

  Santa Fe Opera

  Jul 2019 - Aug 2019

  • 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
    • 15 July 2019

  • 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, Broadway World
    • 27 July 2019