Amanda Majeski has established herself as an artist of singular finesse and aristocratic energy. Majeski’s supple, glittering voice is able to soar through the long, arching vocal lines of Richard Strauss, and her shrewd command of text allows Majeski to savor the richness of a Mozart–da Ponte recitative.
This month, the Illinois native sings her first performances of Benjamin Britten’s War Requiem, with the Colorado Symphony. In February, Majeski will make her Covent Garden debut, in the title role of Janáček’s Kát’a Kabanová, in a new production by Richard Jones. April and May find her in Stuttgart, singing her first Gluck heroine, the title character in Iphigénie en Tauride, opposite the Oreste of rising American baritone Jarrett Ott. Ott and Majeski will be reunited in the summer, as Guglielmo and Fiordiligi in Santa Fe Opera’s new production of Così Fan Tutte.
A willowy 5’ 10”, Majeski is a chameleon who moves with a dancer’s élan if the role requires it but can also impersonate the awkward stride of a gawky teenage girl—as witness her bespectacled Fiordiligi in Phelim McDermott’s 1950s-era Così at the Met—or the coltish pace of an impassioned young man, as she did in her scene-stealing turn as the Composer in Santa Fe’s 2018 Ariadne auf Naxos.