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

I'm still on cloud nine from my 2016/2017 season which included singing Beethoven’s Ninth Symphony, with conductor Gustavo Dudamel and the LA Phil, as well as the Countess in Mozart’s Le nozze di Figaro at WNO.

My 2017/18 season brings me back to places I hold dear and takes me to new places as well, and I'm very excited to share it with you all!

This season I return to the Metropolitan Opera for my house role debut as Fiordiligi in Così fan tutte, a role I premiered earlier this year in Omaha. I'm looking forward to revisiting this feisty character in a cast filled with old friends, and you know how I love to sing my Mozartean ladies! The production will be simulcast in cinemas around the world via the Met's Live in HD on March 31.

Speaking of Mozart, I open my season this fall with another Vitellia in La clemenza di Tito at Paris Opera, a house debut for me! Croissants, anyone?

Countess in Le nozze di Figaro Photo credit: Scott Suchman / Washington National Opera

Countess in Le nozze di Figaro
Photo credit: Scott Suchman / Washington National Opera

This season also features another role debut for me! I will portray the role of the Composer in Strauss’ Ariadne auf Naxos at Santa Fe Opera. Though it's often performed by mezzos these days, the role was actually premiered by a soprano, and I'm very interested in stepping outside the box to explore a new kind of character I don't normally get to play! 

Donna Elvira in Don Giovanni Photo credit: Kelly & Massa Photography / Opera Philadelphia

Donna Elvira in Don Giovanni
Photo credit: Kelly & Massa Photography / Opera Philadelphia

My season continues with two Wagner roles: Eva in Die Meistersinger von Nürnberg at the National Centre for the Performing Arts in Beijing and Gutrune in Wagner's Götterdämmerung with the Hong Kong Philharmonic, another house debut for me! This performance will also be recorded for release as part of a full Ring Cycle on Naxos Records.

In the spring, I return to my alma mater, the Curtis Institute of Music, to perform a program very dear to my heart: Strauss’ Four Last Songs at Verizon Hall, accompanied by the Curtis Symphony Orchestra and fellow alumna, Karina Canellakis.

See what I'm up to when I'm on the road, and follow me on social media! 



Amanda's performances as the title character in Moniuszko's Halka and as Cleopatra in Handel's Giulio Cesare and earned raves!

Soprano Amanda Majeski as Halka filled the room with her natural sounding voice full of longing and pathos. Her role dominates the opera and Majeski delivered volume, nuance, and remarkable acting savvy… Majeski’s performance and the lush, dramatic music left a viewer more than satisfied.
— The Millbrook Independent
The musical performances of the cast were impressive, particularly Amanda Majeski, who triumphed in the title role. She sang with beautifully connected lines, each time growing with more clarity and gorgeous tone, but still managing to bring out that unhappiness. Majeski showed why she is such a promising artist… She emanated a celestial quality in the final portion that capped her performance on a truly mesmerizing note.
— Opera Wire
Amanda Majeski is a great Cleopatra, intense and volatile. Her aria “Piangerò la sorte mia” was of paralyzing beauty.
— Página/12
The most astonishing was the American soprano Amanda Majeski, who made a stunning Cleopatra. With an attractive voice throughout its extended range and a triumphant technical capacity to overcome the devilish colorings that Handel imposed on her character, she added interpretations and emotional intensities of the highest level, and superlative grace and performance.
— La Nación
Nothing would be the same without the talent of that Cleopatra, the versatile American soprano Amanda Majeski, who passes with equal brilliance through all registers – from the lascivious and mocking speculator of the beginning to the suffering and selfless lover of the end, in a typically baroque progression. The cast selection is impeccable, shining from end to end.
— Clarín
A pleasant surprise was the American soprano Amanda Majeski, who dazzled as Cleopatra. With beautiful scenic and powerful presence as an actress, she showed homogeneity of timbre, exquisite technique, perfect handling of the colorings, intensities, and attractive vocal color.
— Mundo Clásico


Amanda makes her debut this fall at the Paris Opera, performing Vitellia in Mozart's La clemenza di Tito, under the baton of Dan Ettinger, performing alongside Ramón Vargas. 

Learn more >



Amanda appeared on Chicago Tonight to chat about Der Rosenkavalier and perform Strauss and Bolcom.

Read "The Lady's Back" – and learn which character Amanda would most like to have coffee with – in CS Modern Luxury, and check out Schmopera's Spotlight on Amanda!