AmandaMajeski

/
  • Soprano

About Amanda

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 in the 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. 

Amanda begins the 2025-2026 season with an exciting role debut at the BBC Proms, singing the title role in Shostakovich’s Lady Macbeth of Mtsensk. She returns to Oper Frankfurt, as Marta in The Passenger, sings the Marschallin in Der Rosenkavalier with New Orleans Opera, and joins the Rundfunk-Sinfonieorchester Berlin and conductor Edward Gardner for Szymanowski’s Stabat Mater and Mahler’s 4th Symphony. Future seasons include her return to London’s Royal Opera House.

In the 2024-25 season she returned to the Semperoper Dresden in the role of Strauss’ Salome. She also returned to the Boston Symphony Orchestra to perform Beethoven’s Symphony No. 9 and to her alma mater for the Curtis Institute Centennial Gala. She made her debut with the Madison Symphony Orchestra performing Strauss’ Four Last Songs and Mozart’s Requiem.

In previous seasons, Ms. Majeski has performed at some of the top stages worldwide. Recent highlights include her Metropolitan Opera debut as Countess Almaviva Le nozze di Figaro, as well as returning to perform Donna Elvira Don Giovanni and Fiordiligi Così fan tutte. At Semperoper Dresden Majeski performed her critically acclaimed title role In Janáček's Káťa Kabanová, and starred in productions of Alcina, La clemenza di Tito, Le nozze di Figaro and Capriccio. She performed Marta The Passenger, 3rd Norn/Gutrune Götterdämmerung at Teatro Real Madrid, at Oper Frankfurt she sang the title role Rusalka and her first Marschallin, and Countess Madeleine Capriccio, Komponist Ariadne auf Naxos and Fiordiligi Così fan tutte for Santa Fe Opera. Majeski has also appeared with the Dutch National Opera, the Opéra de Paris, Pittsburgh Opera, Washington National Opera, Opernhaus Zurich and the Glyndebourne Festival Opera.

On the concert platform Majeski has performed with the Los Angeles Philharmonic (cond. Gustavo Dudamel), Boston Symphony Orchestra, London Symphony Orchestra, Sydney Symphony Orchestra, Nürnberger Symphoniker and the Sinfonieorchester Aachen. Her performance of Gutrune Götterdämmerung withthe Hong Kong Philharmonic cond. Jaap van Zweden was released on Naxos Records. Her many recital appearances have included Italienisches Liederbuch at 92nd Street Y with pianist Julius Drake and her solo recital debut at Carnegie Hall.

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, and is alumnus of the Ryan Opera Center. 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. 

Download programme biography   

Contact

Representation

European and Asian Management with Askonas Holt
General Management with Fletcher Artist Management

Follow Amanda

Season Highlights

Sep 2025 - Sep 2025
Royal Albert Hall, London
Shostakovich: Lady Macbeth of Mtensk (Katerina) BBC Philharmonic Orchestra Conductor: John Storgårds
Nov 2025 - Nov 2025
Philharmonie Berlin
Szymanowski: Stabat Mater Mahler: Symphony No.4 Conductor: Edward Gardner
Feb 2026 - Mar 2026
Oper Frankfurt
Weinberg: The Passenger (Marta) Conductor: Leo Hussain

Photos

Download high resolution images

Selected Repertoire

Adams

Dr Atomic (Kitty Oppenheimer)

Bizet

Carmen (Michaela)

Britten

Peter Grimes (Ellen Orford)   •   Midsummer Night’s Dream (Helena)

Delius

A Village Romeo and Juliet (Vreli)

Dvořák

Rusalka (Rusalka)

Gluck

Iphigénie en Tauride (Iphigénie)

Handel

Alcina (Alcina)   •   Giulio Cesare (Cleopatra)

Humperdinck

Königskinder (Gänsemagd)

Janáček

Katya Kabanova (Katya Kabanova)   •   Jenufa (Jenufa)   •   Makropulus Affair (Emilia Marty)

Moniuszko

Halka (Halka)

Mozart

Le nozze di Figaro (Contessa Almaviva)   •   Don Giovanni (Donna Elvira)   •   La clemenza di Tito (Vitellia)   •   Così fan tutte (Fiordiligi)

Poulenc

Dialogues of the Carmelites (Blanche)

Strauss

Der Rosenkavalier (Marshallin)   •   Ariadne auf Naxos (Komponist)   •   Capriccio (Gräfin)   •   Arabella (Arabella)   •   Salome (Salome)

Tchaikovsky

Eugene Onegin (Tatyana)   •   Iolanta (Iolanta)   •   Pique Dame (Liza)

Wagner

Götterdämmerung (Gutrune, 3rd Norn)   •   Tannhäuser (Venus)

Weinburg

The Passenger (Marta)

News

Press

  • Lady Macbeth of Mtsensk | BBC Prom

    Royal Albert Hall, London
    Sep 2025 - Sep 2025

    • This powerful semi-staging, combining forces from the BBC Philharmonic and English National Opera, succeeded in translating the unique impact of the hugely demanding piece from stage to concert hall, and featured a phenomenal performance in the central role of Katerina by the American soprano Amanda Majeski. Majeski, her voice clean-edged and perfectly focused, conjured from Shostakovich’s lines a searing directness and beauty that projected perfectly into the huge Albert Hall – she was a woman against the world, powerless in everything except her own passion. Majeski has recently made a big impact as Janacek’s Katya Kabanova; here was her debut in a part which will surely become a signature role.

    • It is a hugely challenging role and Amanda Majeski was outstanding in it, sounding beautiful at all but the most extreme moments and tireless to the end.

    • ... nothing was more striking or disturbing than the interaction between Spence’s Sergey and Amanda Majeski’s Katerina: the former heroically clarion even while dramatically faithless, the latter a terrifyingly lyrical portrait of a woman “so bored I could hang myself” – or, as it turns out, commit murder.

    • Massed forces bring out the power and savagery of Shostakovich's score but it was Amanda Majeski in a masterly account of the title role who really triumphed ... Amanda Majeski seemed to have an astounding ability to make her voice cut through the orchestra no matter how challenging the sound and hers was the only performance that soared. This was a consummate account of the role, taking us from the pallid, bored Katerina to the awakening of her rampant libido, along with a highly striking moment when Majeski made it clear that the idea to poison Brindley Sherratt's odious Boris had occurred to her. Subsequent relish for killing surfaced, but leading to the intense obsession with her late husband's body in the cellar. Throughout Majeski ensured that the sympathy for Katerina that Shostakovich inculcates in his score was present throughout. Then in the final act, Majeski rose to real tragic proportions.

    • ... a terrific cast projected their warped characters with panache, visually and vocally ... [Majeski's] vocal timbre had a white-hot incisiveness.

  • 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.

    • …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.

    • 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.

  • 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.

    • 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.

    • 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.

    • 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.

  • Donna Elvira | 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.

    • 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

  • 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.

    • 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.

Discography