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

My 2018/2019 season was quite a whirlwind! I sang all over the world (3 continents!) performing Mozart’s Requiem, Beethoven’s Ninth Symphony, Britten’s War Requiem, Mahler’s Resurrection Symphony and making two operatic role and house debuts abroad: my Royal Opera House-Covent Garden debut as the title role in the Olivier Award-winning production of Káťa Kabanová and Iphigénie in Gluck’s Iphigénie en Tauride at Stuttgart Opera. It was wonderful to then return to a feeling of “home” this summer at my beloved Santa Fe Opera to sing with old friends and new in one of my standard roles: Fiordiligi in Così fan tutte!

Fiordiligi in  Così fan tutte  Photo credit: Ken Howard / Santa Fe Opera

Fiordiligi in Così fan tutte
Photo credit: Ken Howard / Santa Fe Opera

My upcoming 2019/2020 season begins in Nuremberg, Germany where I will be singing Strauss’ Vier letzte Lieder with Die Nürnberger Symphoniker! I then travel to my home opera house, Lyric Opera of Chicago, to sing the fiery and misunderstood Donna Elvira in Mozart’s Don Giovanni with an all-star cast and creative team. I am so privileged to then make my New York Philharmonic debut under the baton of Jaap van Zweden, performing Mozart’s Mass in C Minor, and to also perform Wolf’s Italienisches Liederbuch at the 92nd Street Y, alongside Philippe Sly and Julius Drake.

Katya in  Káťa Kabanová  Photo credit: Clive Barda / Royal Opera House

Katya in Káťa Kabanová
Photo credit: Clive Barda / Royal Opera House

My season continues with a return to Kát’a at the Rome premiere of Janáček’s Kát’a Kabanová, making my debut at the Teatro dell’Opera di Roma. I finish my season with an additional debut at the Teatro Real Madrid in the Spanish premiere of Weinberg’s The Passenger, where I will be reprising my role as Marta. 

Thank you for your support and encouragement and for visiting my site! Follow me on social media and let me know if you will be in the audience while I sing around the world this season!



Amanda’s performances as the title role in Janáček’s Káťa Kabanová for her Royal Opera House debut earned raves!

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.
— The Times
Majeski, in one of the finest house debuts of recent years, sings with remarkable commitment and radiance of tone...She sounds exquisite.
— The Guardian
Amanda Majeski’s well-rounded so warm and glorious, the singing so outstanding, that she leaves no emotions unstirred.
— Financial Times
...a star turn worth celebrating from Amanda Majeski...exquisite singing
— The Telegraph
American soprano Amanda Majeski, making her Royal Opera debut, stands out. Her body, as expressive as her voice, outlines Katya’s blend of iron resolve and vulnerability.
— Evening Standard
In her house and role debut, Majeski gives such heartfelt commitment to the role of Kát’a that one worries how she can come back down from the emotional peaks and precipices that she scales in her performance...Majeski lurched with paradoxical fluency through Kát’a’s emotional upheavals, from insular self-denial to nascent optimism, from sweet fulfillment to utter despair. Her Act 3 confession was simultaneously disturbingly irrational and hypnotically enthralling...Majeski’s stunning vocal acting dominated this performance.
— Opera Today
...beautifully sung, with a host of appropriate colours in the rich soprano with its radiant top and full chest voice”
— The Arts Desk


Amanda appeared on the cover of Opera News for their November 2018 diva issue. Click below to read the feature.

Amanda appeared on Classic Talk for an introspective interview with Bing and Dennis.