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NOTE FROM AMANDA

Welcome — I'm so glad you've joined me here!

The 2014-2015 season is in full swing -- I'm thrilled to have made my Metropolitan Opera debut in Le nozze di Figaro in the fall. If you weren't in the New York area, I hope you were able to see our PBS Great Performances at the Met episode, or were able to join us for the Live in HD broadcast in cinemas all over the world, now also available via Met Opera on Demand!

Photo credit: Ken Howard / Metropolitan Opera

Photo credit: Ken Howard / Metropolitan Opera

The new year kicks off with two exciting role debuts. First, I joined my hometown company Lyric Opera of Chicago for their production of The Passenger -- my family was so happy to hear me singing in Polish! I spoke with the Lyric about why Marta is such an extraordinary character.

This story of survival, perseverance, and love is an amazing and important one to tell, and I feel so lucky to have been a small part of sharing it. You can view the trailer below!

Now I've returned to Frankfurt, a city that has become a musical second home over the past few years, to sing my first Marschallin in Der Rosenkavalier at Oper Frankfurt. You can sneak a peek at the first production images here!

To help me stay connected while I'm on the road, I've entered the world of social media -- I'd love you to connect via the icons below. 

In the meantime, I'll be wishing you a fantastically rejuvenating spring!
 

 

REVIEWS

Rave reviews are pouring in for Amanda's debut as the Marschallin in Der Rosenkavalier at Oper Frankfurt!

Soprano Amanda Majeski is one of the most ideal interpreters of this main character available. She surpasses the most celebrated Marschallin of our day, even with technique and soulful expression.
— Deutschlandradio Kultur
Soprano Amanda Majeski offers an amazing role debut here, full of character and equally fragile. In addition, she takes into consideration some of the most beautiful love-sighs conceived in the history of music.
— Offenbach Post
The fusion of sound that these three artists achieve is likely what Richard Strauss had in mind when he abandoned himself in the quicksand modulations to create his most lavish score. Amanda Majeski is an ideal Marschallin in appearance, noble gestures and bewitching melodies…
— Frankfurter Allgemeine Zeitung

CASTING

Just announced: Amanda will return to Santa Fe Opera as the Countess in a new production of Capriccio, also featuring Eric Owens and Susan Graham.

She will also perform two lead roles at the Lyric Opera of Chicago next season: the Countess in a new production of Le nozze di Figaro and her American debut as the Marschallin in Der Rosenkavalier.

Immediately following Der Rosenkavalier, Amanda will return to the Metropolitan Opera for repeat performances of Le nozze di Figaro, alongside Luca Pisaroni, Isabel Leonard, Anita Hartig, and Mikhail Petrenko.

 

NEWS

Amanda spent a night on the town with Opera News for their new "Out Late" feature – read about her adventures in the March 2015 issue.

Amanda is featured in the Chicago Sun-Times Best of 2014: Classical Music and Opera list! "Joyce DiDonato and Amanda Majeski shook the rafters and our psyches in Mozart’s La clemenza di Tito..."

Get to know Amanda in this Opera News Take 5 video!
 

 

UP NEXT

Time is a strange thing. But one needn’t be afraid of time. It too is a creation of the Father, who created us all.
— The Marschallin

"Der Rosenkavalier represents the apogee of Richard Strauss's popularity, and perhaps of his life. He had a deep affection for it, a profound identification with it; in his will he stipulated that the work's sublime final trio, the greatest of his many love letters to the soprano voice, should be played at his funeral, which took place in 1949, in still war-blasted Munich. A 36-year-old Georg Solti conducted; as the soaring, overlapping lines arched out over the orchestra, each of the three singers broke down, overcome by emotion, the words, speaking of valediction and the hope of new life, unbearably poignant in the circumstances. The great comedy of love and loss, swirling with waltzes and borne aloft with an inexhaustible flow of heart-stopping melody, belonged, like the composer, to a vanished world."

Learn more in The Guardian's fascinating piece on Der Rosenkavalier.

 

BEHIND THE SCENES

Amanda's debut run of Der Rosenkavalier features a Marschallin for whom time is running short. Amanda talked to Oper Frankfurt about her love for the music of Strauss, and how the Marschallin's terminal illness in this production imbues each moment in the opera with deeper meaning.