Fiordiligi in Così fan tutte at Opera Omaha, 2017

"Majeski and Fons were enchanting as the characters the rest set out to fool. Few operas require such vocal dexterity against such an emotionally subtle tale. Their vocal gymnastics were a constant delight."
Drew Neneman, Omaha World-Herald

"Fiordiligi’s aria “Per pieta, ben mio, perdona” in the second act was nothing short of mastery. If you didn’t cry, you may not be human. Majeski was able to jump an octave and a half while nailing pitches, portraying remorse and maintaining the effortless quality necessary for Mozart. She managed to flawlessly execute soft regret spiraling into harsh sorrow within seconds – and while reclining from heartbreak on a chaise, no less."
Emily Johnson and Katherine Pawlowski, Daily Nonpareil

Countess in Le nozze di Figaro at Washington National Opera, 2016

"The singer onstage with the greatest stature was Amanda Majeski, whose Countess I last heard at the Met a couple of years ago and who delivered a similar performance here: vocally strong, dramatically nuanced, with a bit of an edge to her singing but a generally lovely presentation."
Anne Midgette, Washington Post

“Headliner Amanda Majeski did not disappoint in the Countess’s major showpieces, especially a  captivating “Dove sono” in which her colorful, urgent soprano beautifully conveyed the Countess’ frustration and melancholy, eliciting the biggest audience response of the night.”
Alex Baker, Parterre Box

"As skillful as the ensemble may be, nothing moves the needle until the arrival of the statuesque Amanda Majeski’s Countess. Alone and melancholy, she sings mournfully of the faithless Almaviva with the crystalline beauty of a sorrowful Snow Queen. It’s a rare moment of magic..."
Kate Wingfield, DC MetroWeekly

“The singing was thoroughly delightful and in some instances stunning. Amanda Majeski as the Countess had a distinct soprano sound that put me in mind of the German-born Austrian Gundula Janowitz, one of the most renowned singers of the 20th century. Majeski’s ability to float a line and pluck high notes from the stratosphere, inserting them effortlessly yet substantively in her vocal runs is crazy good. She seemed perfection cast as the Countess, a Pre-Raphaelite painting with her golden curls, long fingers and  willowy body.”
Susan Galbraith, DC Theatre Scene

"The production’s standout was Amanda Majeski (Countess Almaviva), whose name gets it right: She was majestic. The soprano was the vision of wounded grace. So statuesque and beautiful was Majeski that she almost undermined the premise of her character, who mourns the loss of her power over her wayward husband and later contrives to regain it. Why would the count be out in the village chasing skirts when he was married to someone so beautiful? The answer, I suppose, is that men can be awfully stupid."
Blake Seitz, Washington Free Beacon

“The most convincing singing of the night came from Amanda Majeski, making her WNO debut as the wronged wife of the Count. She spun clear and beautiful melodies, with sensitive gradations of volume.”
Hilary Stroh, Bachtrack

"Majeski, in terms the Nationals Park audience would understand, hit her arias, particularly Dove sono, out of the ballpark. (I shall forgo saying it was pitch-perfect.) She was an affecting Countess."
Charles T. Downey, IonArts

"Amanda Majeski (Countess Almaviva) is a veritable triumph. As predicted, Majeski’s regal Countess is one of the standout performances of the night. The Countess’s lamentation, the aria “Porgi, amor,” soars through the opera hall on the wings of Majeski’s lyric soprano."
Jennifer Minich, MD Theatre Guide

“And then there’s soprano Amanda Majeski, who reminds us that we are in a Mozart opera, after all, not just a really big show. In the middle of this madness, her Countess is a decidedly complicated human being, and it comes through in her singing — modulated for emotional clarity — and in her presence, which nags at us with the thought that she’s a woman with a heart and faith that’s nearly broken, amid a mountain of nuttiness. She’s the centerpiece of an epic comedy, and a major piece of stagecraft and entertainment.”
Gary Tischler, The Georgetowner

"The poised, elegant and moving performance of soprano Amanda Majeski...was a picture-perfect Rosina, willowy, dignified, yet deeply emotional and still eager to reclaim her lost love. Vocally, Ms. Majeski’s interpretation was warm, loving, and well-rounded, yet also gripping. She sinuously intertwined her voice with Mozart’s lovely music and Da Ponte’s beautiful libretto, creating a flesh-and-blood character that instantly grabbed and held the audience’s heart. Brava!"
Terry Ponick, CDN

"Poor Countess Rosina, whose fragility and deep sadness are brought out in a stunning performance by Amanda Majeski, is caught in the middle. It is the women who are truly at the heart of this production...when [Oropesa and Majeski] take the stage together, audiences cannot fail to be moved."
Julia Hurley, DC Metro Theater Arts


Countess in Capriccio at Santa Fe Opera, 2016

“Everything revolves around the Countess. Soprano Amanda Majeski portrays her with casual charm and sincere warmth, creating a character in control of her world and secure in her situation. Politesse is so deeply imbued in her character that she carries it without the slightest self-consciousness. Majeski’s soprano is tightly focused, her intonation is spot-on and her delivery rolls forth with conversational naturalness. Her timbre is pure, sometimes approaching a “white sound” that allows prominence to head resonance. Her vocalism harks back to a kind of singing we don’t encounter much today. If you heard her pure timbre and pristine diction on a recording, you might guess it was an opera star of the 1940s or ’50s — and a fine one. Her singing has a reined-in quality that proves apt for the portrayal she has crafted. A slight quiver enters her voice now and again, adding a quality of wistfulness. It adds to the vulnerability she allows herself to display in her touching final scene, where she recognizes that her aesthetic elegance is a barrier to her own emotional fulfillment — an acknowledgment she bares to herself alone, out of view and earshot from anyone else. [Some] had trouble being heard in a couple of climactic phrases, though not Majeski, whose tone penetrated the texture without sacrificing its beauty."
James M. Keller, Santa Fe New Mexican

"The rising soprano Amanda Majeski sings this touchstone Straussian role with gleaming, resonant tone and insightful musicianship..."
George Loomis, Financial Times

"Amanda Majeski seems pre-destined to play the Countess. Her cool, secure, limpid soprano is just what Strauss had in mind when he endowed the role with lovely conversational passages, airy flights above the staff, and haunting musings on the philosophies of art and music. Ms. Majeski’s pure tone and knowing, fluid delivery harkens back to great Strauss interpreters of the last century, a direct connection to a revered roster of interpreters. Her traversal of the Countess’s last great monologue was a thing of great beauty, infinite variety, and sublime vocalization. Moreover, Majeski has a regal and poised presence, her carriage leaving no doubt that she is “royalty.” Her achievement is such that she may just be unequalled in this part at the moment."
James Sohre, Opera Today

“In the lead role of Countess Madeleine, Illinois soprano Amanda Majeski provided the vocal power required to complement Strauss’s soaring melodies and the elegance appropriate for the gentler music of Madeleine’s introspective moment.”
William Burnett, Opera Warhorses

“Majeski scored a triumph as a youthful Countess Madeleine, her silvery tone and aristocratic bearing a pleasure. Her sound is ideal for Strauss, a bit cool in timbre, like a young Gundula Janowitz. Her final monologue was absolutely gorgeous.”
Joseph So, Musical Toronto

"The rising soprano Amanda Majeski sang the role of the Countess with shining, resonant tone and insightful musicianship..."
George Loomis, Opera Magazine

"As the Countess, Amanda Majeski sang her long phrases with free flowing tones that kept their focus as they blossomed out over the audience. A fabulous Strauss singer whose sound recalls German sopranos of the previous era such as Elizabeth Schwarzkopf and Irmgard Seefried, she she portrayed the noble lady as a refined heiress with consummate good taste."
Maria Nockin, Bachtrack

“Amanda Majeski turns in a sparkling performance as the glamorous Parisian Countess Madeleine. [The voice] has an exceptional flexibility, easily enough to traverse the many vocal hurdles of this difficult role. She gives the final scene, a last meditation on the question of words and music, a transcendent quality.”
D. S. Crafts, Albuquerque Journal

"As Strauss’ multi-faceted, somewhat enigmatic Countess, Amanda Majeski provides a poised central figure. She’s played the vulnerable aristocrat in the past—Countess Almaviva in Mozart’s Figaro. Here Majeski sings from the heart in a role that’s a semi-composite of the composer’s great heroines, the Marschallin and Ariadne. It’s a limpid, lucid portrayal, nowhere more distinctive than in the searching final monologue, Strauss’ most enraptured."
John Stege, Santa Fe Reporter


Eva in Die Meistersinger von Nürnberg at Glyndebourne Festival Opera, 2016

“Amanda Majeski made the best Eva I have heard in years, true of pitch and pure of tone, comfortable in all reaches of the part and emotionally persuasive from beginning (fidgeting in the church pew) to end (despair at Walther’s initial rejection of the Guild). The radiant B flat with which she crowned the quintet was perfection.”
Russ McDonald, Opera Magazine

"Amanda Majeski’s ravishingly sung Eva radiates disembodied beauty under the cobbler-poet Sachs’s benediction."
Michael Church, The Independent

"Amanda Majeski is a lovely, silvery-voiced Eva."
Richard Fairman, Financial Times

"Amanda Majeski (Eva) and Hanna Hipp (Magdalene) both demonstrated those qualities [passion and ardor] abundantly towards Walther and David as the respective objects of their romantic affections; indeed, vocally, they were very similar in tone and excellence."
Curtis Rogers, Classical Source

"Majeski’s voice has an inhaled ease to it, blooming with no obvious strain or overwork."
Alexandra Coghlan, The Arts Desk

"Amanda Majeski’s Eva fulfilled most of the promise which she had shown as the Countess in the 2013 Le nozze di Figaro, her touching intonation and unaffected stage presence ideal for Wagner’s ‘little Ev’chen’."
Melanie Eskenazi, musicOMH

"The American soprano Amanda Majeski was Eva. Reminiscent of Gundula Janowitz, she launched the quintet exquisitely and looked very pretty to boot."
Rupert Christiansen, The Telegraph


Marschallin in Der Rosenkavalier at Lyric Opera of Chicago, 2016

"As the Marschallin, Amanda Majeski revealed just the type of glowing soprano voice with which Strauss had a lifelong love affair; Majeski has an ample, pungent instrument with the ability to soar above the staff in long, arching lines and fine down to a thread of pianissimo with seeming effortlessness. Majeski delivered the conversational writing with natural grace. Her musing that we little heed time until all at once we think of nothing else was quite poignantly rendered."
Mark Thomas Ketterson, Opera News

"Soprano Amanda Majeski was an intriguing Marschallin, projecting gracious authority while struggling with the painful fact that her youth was forever past and gone. An Illinois native and alumna of Lyric’s Ryan Opera Center training program, she sang with a strong, bright, expressive tone. Her seamless lyricism in the opera’s introspective moments conveyed the Marschallin’s essential goodness of heart. In Act III, disgusted by the crude Baron, Majeski’s low vocal line brimmed with scorn."
Wynne Delacoma, Chicago Sun-Times

"The singer who would succeed at Strauss must possess the freedom of tone necessary to brave the rapidly-shifting musicality of his phrases and the buoyant athleticism of their leaps, while maintaining a narrow delineation of pitch. In the plum role of The Marschallin, Chicago-favorite Amanda Majeski makes short work of this challenge. In the Act I Monologue, “Da geht er hin,” the Illinois-born soprano threads her golden sound fearlessly, with a flawless vibrato like a flicker hovering over a carefully-controlled flame."
Aaron Hunt, Chicago Theatre Review

"Majeski was exemplary, riding Strauss’s long lines with gleaming tone and confidence. She brought a dignified sadness to her long Act I soliloquy musing on her fading beauty with touching expression. The soprano was ideally poised and affecting vocally and dramatically in the final trio as she yields her young lover to a woman his own age."
Lawrence A. Johnson, Chicago Classical Review

"Amanda Majeski regally embodies the Marschallin. Her tall, slender figure and fair skin are a natural fit for the role, but it is her exquisite tone and vocal technique that makes the performance so absolutely enchanting. When Koch and Majeski are joined onstage by Christina Landshamer’s Sophie for Der Rosenkavalier’s finale, the resulting trio is heavenly and sublime."
Barnaby Hughes, Stage and Cinema

"Majeski has a way of sliding languidly into notes, letting them come upon her in a way that projects immense self-assurance. Her creamy tone sits beautifully atop Edward Gardner’s direction of the orchestra."
Dan Wang, Bachtrack

"In the key role of the Marschallin, Lyric is blessed with the presence of soprano Amanda Majeski. Her work here is sheer perfection. She has clearly mastered the character's many moods, from her flirtatiousness with Octavian following their liebesnacht in her bedroom at the start of the first act to her gracious philosophical resignation in the trio of the last. Majeski has a voice of both warmth and power, enabling her to make herself heard over Strauss's large orchestra while still floating ethereally over more intimate scenes. She simply could not be better in this role."
Chuck Lavazzi, Stage Left

"Strauss specified that his heroine, the Marschallin, be no older than 32.  Matching her real-life age to that of the character, soprano Amanda Majeski (who's 31) sang beautifully as the Marschallin, aka the Princess von Werdenberg, wife of a field marshall in Imperial Vienna. The Illinois-born Majeski carried herself with great poise and grace as she lofted creamy tone and ravishing pianissimos into the stratosphere, and she was touching in her character's rueful monologue about the passage of time. She earned herself an extended ovation Monday."
John von Rhein, Chicago Tribune


Countess Almaviva in Le nozze di Figaro at Ópera de Oviedo, 2015

"The American soprano Amanda Majeski has a deep understanding of the role of the Countess Almaviva, which imbues it with an extraordinary delicacy. The Countess created by Majeski has the melancholic touch of a woman in love, forced to lie and engage in intrigue in order to to return to the arms of her Count. Especially in the arias 'Porgi amor' and 'Dove sono' she achieves a very beautiful rendering. She was much applauded and sang with a Mozartian voice of the highest quality."
El Comercio

"With regards to the noble characters, the Countess was superbly performed by Amanda Majeski, especially her “Dove sono,” perhaps the best musical moment of the night. With exquisite phrasing and great musicality, she was able to sustain the most inspired Mozartian phrases written for her character, even making them seem easy to sing. This ease is what allowed her to convey both the security and authority of her status and the fragility of the deceived and disillusioned wife."
Alejandro G. Villalibre, Opera World


Countess Almaviva in Le nozze di Figaro at Lyric Opera of Chicago, 2015

"Luca Pisaroni and Amanda Majeski are both fine Mozarteans... Majeski sings with her customary poise, her creamy soprano blending beautifully with that of German soprano Christiane Karg."
John von Rhein, Chicago Tribune

"His adoring, long-suffering, elegant wife, Countess Almaviva is Illinois-born soprano Amanda Majeski. The Countess’ pain is dealt with comically early on as she gorges sweets on the gargantuan bed she once shared with her husband. But some of the opera’s most moving moments (and most exquisite singing) come when she recalls the joys of her earlier days of passion with the Count, and then, in a duet with Susanna, she dictates a love letter suggesting an assignation between Susanna and the Count."
Hedy Weiss, Chicago Sun-Times

"Amanda Majeski sang “Porgi amor” with delicate but resonant pathos and fluid evenness across registers."
Tim Sawyier, Chicago Classical Review

"Majeski’s soprano is both luminous and ringing, and in the heart-breaking aria “Dove sono,” she moved convincingly from aching despair to a firm resolve to recapture the Count’s affection."
Wynne Delacoma, Musical America

"From one of the evening’s first gestures – Amanda Majeski, stately as the Countess, pulling the curtain down instead of letting it rise – one knew that this production would play up the opera’s mischievousness no less than its spectacle. But the Versailles bordello aesthetic that runs through much of this production’s visual style didn’t come close to overshadowing the vocal talent, which is very strong. Majeski’s trilling vibrato is most distinctive..."
Dan Wang, Bachtrack

"Pisaroni is well-matched by Amanda Majeski, whose noble heart redeems her wayward husband. Her tender and delicate singing approaches the transcendent, from the poignant solo aria “Porgi amor” to the breathtaking duet “Sull’aria” (with Christiane Karg)."
Barnaby Hughes, Stage and Cinema

"Amanda Majeski’s Countess Almaviva proved the high point of the evening. She inhabited her role in such a way that its essence was illuminated, transcending the ludicrous stage business thrust upon her. Majeski exuded a radiant humanity that strongly recalled the late Elisabeth Soederstroem (and what a Jenufa or Katya Kabanova Majeski may prove to be!). Her account of the fiendishly difficult “Dove sono” was notable for poise and polish, luminously sung and launched with a grandly phrased, deeply felt recitative. In a still young career, Majeski has moved from strength to strength, justifying Lyric Opera’s confidence in its former Ryan Opera Center member.
Jason T. McVicker, GB Opera Magazine


Marschallin in Der Rosenkavalier at Oper Frankfurt, 2015

"For her first Marschallin, Amanda Majeski delivers a top flight performance, reconciling youthfulness and experience, power and fragility."
Nicolas Blanmont, Opéra Magazine

"The direction of the work, the longing for Mozart that Strauss fulfilled to a certain extent, is actually revealed by the singing. In this respect, the Frankfurt Opera leaves no wish unfulfilled. You do not have to wait until the final trio by Amanda Majeski in her role debut as a supremely proud Marschallin, Paula Murrihy as a reluctant Octavian, and Christiane Karg as a shyly defiant Sophie, to recognize that the quality of singing not only depends on the individual voices, but how the voices complement one another. 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…”
Wolfgang Sander, Frankfurter Allgemeine Zeitung

“Soprano Amanda Majeski as the Marschallin sings with great tenderness and weightless piano tones.”
Kirsten Liese, BR Klassik

"Amanda Majeski is a young, slender, ghost-like Marschallin: she moves through the action as a tender, injured girl (even in scenes where she has nothing to sing), dominates the senses with a lyrical intensity, and does the major vocal climaxes full justice."
Hans-Klaus Jungheinrich, Opernwelt

“And the music is a great pleasure in Frankfurt.  First and foremost Amanda Majeski, who wanders through the sanatorium like a ghost, but her wonderfully beautiful soprano voice always blooms.” 
Martin Gruenberg, Deutschlandfunk

“Even the singing is on a consistently homogenous top level: Amanda Majeski shines with a delicate fragility as the Marschallin at all intensities.”
Michael Dellith, Frankfurter Neue Presse

"The suspended lyrical cantabile singing of soprano Amanda Majeski’s Feldmarschallin is the epicenter of the staging."
Stefan Michalzik, Hessische-Niedersächsische Allgemein

“It was brilliantly realized by Guth’s beautiful young Marschallin, the rising American soprano Amanda Majeski. She made an assured debut in this psychologically complex role, singing radiantly and looking something like Strauss’s (late-life) ideal – ‘no more than 32 years old’ – for the part." 
Hugh Canning, Opera Magazine

“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.”
Klaus Ackermann, Offenbach Post

"Amanda Majeski embodies this woman in an extremely radical approach as vulnerable, already long since injured, alienated by life…The Marschallin glides through the action almost like a shadow, a false sense of girlishness and faint at the same time, silent and ghostly as well as observing many scenes where she does not sing. The young American, visually a petite slender sister of symbolist Böcklin or Segantini nymphs, sings the Marschallin with graceful, easy lyrical intensity, which does not fail when the dynamic surges. In all her beautiful sickness to death (Thomas Mann says hello) she accomplishes in the final act the miracle of arranging all things as an authority figure: the inglorious grand waltz of the departure of Ochs, the entertainment of the hypertensive Faninal, and the heavy-hearted blessing of the young couple."
Hans-Klaus Jungheinrich, Frankfurt Rundschau

“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.”
Dieter David Scholz, Deutschlandradio Kultur

 


Marta in The Passenger at Lyric Opera of Chicago, 2015

"Marta [is] the radiant soprano Amanda Majeski. Heading a superb ensemble, Majeski makes something immensely touching of Marta's final soliloquy in which she serenely recalls her lost friends from the camp, declaring that all who suffered must never be forgotten and those who caused their suffering must never be forgiven. Her singing is pure, shining and true. She has done nothing finer at the company that launched her international career."
John von Rhein, Chicago Tribune

"Soprano Amanda Majeski, a stellar alumna of Lyric’s Ryan Opera Center, was simply luminous as the 20-year-old Marta. Her ringing soprano glistened like Waterford crystal, combining transparent fragility with soulful strength."
Wynne Delacoma, Chicago Sun-Times

"Weinberg's score is by turns lush and spare (it recalls Shostakovich, who was a great fan of this score), showcasing the singing. The cast is excellent, but special praise goes to Amanda Majeski as the prisoner Marta, who balances virtuosic singing with raw emotion that is frankly devastating."
Hank Sartin, Crain's Chicago Business

"The standout by a mile this evening was Amanda Majeski, who sang the survivor’s role with silky depth and an extraordinary control of dynamic range. She really knows how to scale her power; especially when the role opens up in Act II, Majeski’s style, with its tapered onsets and ringing vibrato, seemed an extension of Marta’s increasing resolve and emotional directness."
Dan Wang, Bachtrack

"Marta [is] a role Amanda Majeski brings to life with impeccable style and effective acting. Majeski elicits passion from the sometimes spare score, and the note-perfect second-act duet with her fiancé Tadeusz (Joshua Hopkins) stands out for its dissonant lyricism. The intensity she offers at the end is notable for her piano and pianissimo tones, which are rich and reverberant."
James L. Zychowicz, Seen and Heard International

"Majeski’s Marta was far from the one-dimensional angel found so often on the opera stage. There was a wonderful edge to her gleaming soprano, a combination of fragility and strength like that of intricately cut glass. Even in the opera’s closing scene, with Auschwitz far behind her, profound sadness colored Marta’s final, mesmerizing song. Soothed by the peaceful silence around her and confident that love endures, Marta indeed embodies the triumph of the human spirit. But clearly, the battle has left deep, indelible scars."
Wynne Delacoma, Musical America

"Amanda Majeski is already on a fast track to a major career, but as Marta, the former Ryan Opera Center member delivered a shattering, star-making performance. The soprano delivered the goods with fearless dramatic commitment. Head shaved and unglamorous, she sang Marta’s interior arias with luminous tone and touching fragility, rising to her final aria with vocal strength and a well of great sadness."
Lawrence A. Johnson, Chicago Classical Review

"Lyric's multilingual run (characters sing in the language of their homelands) is also benefiting from an excellent performance by—in what might well be the role of her life—soprano Amanda Majeski as a spectral and spectacular incarnation of Marta/Zofia."
Deanna Isaacs, Chicago Reader

 


Countess Almaviva in Le nozze di Figaro at The Metropolitan Opera, 2014

"Ms. Majeski’s voice is ample and expressive... She sang with nuance and taste and made a vulnerable countess, a woman not just wounded but humiliated to have lost the love of her philandering husband."
Anthony Tommasini, The New York Times

"Majeski makes a promising debut at the Met as the Countess, the voice of somber reality amid all the frivolity. Her "Dove sono", one of Mozart's loveliest arias, is full of wistful longing that cuts to the heart."
Wilborn Hampton, Huffington Post

"The Countess is sung by Amanda Majeski, whose large, overtone-rich voice captures the character’s grand and refined ardor. The emotional intensity of Rosina’s impassioned aria of love for her husband (“Porgi amor”)—which Majeski sang with a blend of accuracy and intensity that justly brought the house down—wouldn’t be out of place in Verdi. It’s actually the Countess, with a simple stroke of moral nobility, who turns, with the suddenness of revelation, into the opera’s heroine."
Richard Brody, The New Yorker

"In her Met debut, Amanda Majeski was captivating as the long-suffering Countess Almaviva, whose arias throbbed with beauty and anguish."
Joe Dziemianowicz, New York Daily News

"Majeski sings the Countess with a slightly acid timbre and a tender manner. She is the only adult in a household full of children, casting an amber glow of melancholy on all the uproarious games. Eyre has wrangled all these singers into a performance that feels at once spectacular and intimate. When Majeski sings her tour de force of wistfulness, 3,800 people can feel as if the Countess were unburdening herself only to them."
Justin Davidson, New York Magazine

"Amanda Majeski made about as high profile a house debut as one can as the Countess... Her regal presence and distinctive soprano -- warm, limpid and well-projected without sounding heavy -- marked an artist with real potential. Her "Dove Sono" -- intelligently staged near an imposing, empty dining table that seemed to represent her state as a noblewoman -- affectingly communicated the fragility of a young, neglected wife."
Ronni Reich, New Jersey Star-Ledger

"...Majeski brings a melancholic longing glazed with a layer of hope to the Countess. Her phrasing feels effortless and natural. The two women [Majeski and Marlis Petersen] come together in a shimmering "Sull'aria," their voices seamlessly blending, breaking away, and then converging again. It's a magical moment of exquisite texture and near-perfect dynamics."
Zachary Stewart, TheaterMania

"The young soprano Amanda Majeski, in her Met debut as the Countess, understandably showed signs of nerves, yet her cool, shimmering voice made an impression."
George Loomis, Financial Times

"The splendidly matched ensemble cast was a strong theatrical and musical team... In her Met debut, Amanda Majeski looked beautiful as the wistful, ill-treated Countess. Her fresh, sunny soprano...emphasized the youth of her character and the newness of her disappointment..."
Heidi Waleson, The Wall Street Journal

 


Vreli in A Village Romeo and Juliet at Oper Frankfurt, 2014

"Amanda Majeski's lyrical and desperate Vreli totally convinced..."
Jöm Florian Fuchs, Die Welt

"The Finnish tenor Jussi Myllys and American soprano Amanda Majeski both looked feasibly youthful and sang their roles with convincing ardor, portraying their characters' enveloping mutual attraction most affectingly."
Matthew Rye, Opera Magazine

"Two big guest vocalists make the evening of sung English an exciting experience: first and foremost the American Amanda Majeski, who has already impressively performed in Frankfurt as Humperdinck's Goose Girl and Dvorák's Rusalka. Her Vreli impresses with painful intensity while maintaining an intimate innocence in her singing."
Bettina Boyens, Geißener-Allgemeine

"An excellent impression was made by Amanda Majeski as Vreli with her slim, but very viable, shiny focused lyric soprano voice -- it will be interesting hear her Marschallin in the next season..."
Thomas Tillmann, Online Musik Magazin

"In the course of six scenes everything is focused...on the beguilingly melismatic and charming lyrical voice of Amanda Majeski as Vreli."
Axel Zibulski, Allgemeine Zeitung

"Amanda Majeski is an intense, clear and nuanced Vreli, and Jussi Myllys' lyric tenor is always luminous. One can hardly think of a better eponymous pair."
Hans-Jürgen Linke, Frankfurter Rundschau
 


 

Donna Elvira in Don Giovanni at Opera Philadelphia, 2014

"Donna Elvira, sung by Amanda Majeski, was a revelation. A strange figure, Donna Elvira, but made human by Majeski's devastating rendition of her plight."
Marakay Rogers, Broadway World

"But the only truly compelling singing came from characters that are the most likely not to go well: Amanda Majeski's Donna Elvira had wonderful vocal and psychological specificity instead of the more typical blustering..."
David Patrick Stearns, Philadelphia Inquirer

"The two best solo turns — Amanda Majeski's lovely, fluent Elvira and David Portillo's admirable, long-breathed Ottavio — were phrased and decorated with distinction and style. These two merited any international stage vocally; plus Muni gave their characters arcs (Ottavio, for once, almost emerged the opera's tragic hero) that they traced with skill."
David Shengold, Opera News

 


Vitellia in La clemenza di Tito at Lyric Opera of Chicago, 2014

"Vitellia is the dramatic linchpin of Clemenza, and Majeski, another Ryan Center alum, brings fearless vocalism and feistiness to the royal schemer... Her technique is equal to the murderous demands of Vitellia's bravura arias, not least the huge vocal leaps and plunges of her great monologue 'Non piu di fiori', which shows the character's remorseful side."
John von Rhein, Chicago Tribune

"Amanda Majeski made quite a splash with her Vitellia at Chicago Opera Theatre several years ago, and her gleaming upper register and now-beefier chest voice in the role negotiated the leap to LOC's 3,563-seat theatre to excellent effect."
Mark Thomas Ketterson, Opera News 

"As Vitellia, Amanda Majeski was similarly impressive, even stylish, with an even range that resonated clearly, even as she faced the sometimes challenging vocal lines. Her first-act duet “Come ti piace, imponi” was commanding, and set the dramatic and musical tone from the start. Yet her second-act aria “S’altro che lacrime” was even more powerful; its wide range does not always receive the low tones and rich high notes that Majeski gave. It was an impeccable performance, both technically and interpretively."
James L. Zychowicz, Seen and Heard International

"The exceptional Amanda Majeski and Joyce DiDonato bring the phrases into relief through the sheer distinctiveness of individual musicality. Majeski has the rare ability to hear the length of each note as if from within, letting each sound find its necessary amplitude and decay. Her expressiveness has its gravity around the middle of a note rather than its beginning. Thus, when the two sing together, they can produce natural and apparently minimally tampered-with phrases that nevertheless sound absolutely individual."
Dan Wang, Bachtrack

"Lyric Ryan Center alumna soprano Amanda Majeski, COT's Vitellia in 2009 and now embarked on an international career, is a striking and serious counterpart to DiDonato, and their voices and characters play off each other like powerful magnets. Majeski, too, has the round, low end of the range demanded by this part."
Andrew Patner, Chicago Sun-Times

"Amanda Majeski, who sang Vitellia several seasons ago with Chicago Opera Theater, was commanding in the role Wednesday night. Her soprano is big and bright, and in her love duets with DiDonato she unspooled Mozart's sensuous melodies and ornaments like a practiced courtesan, wrapping Sesto in her caressing song. In Vitellia's final aria, however, Majeski sang fully into a low, dusky register that eloquently conveyed the princess' intense regret for her crimes."
Wynne Delacoma, Musical America
 


Marguerite in Faust at Opernhaus Zürich, 2013

"The American...thrilled with her expression, ranging from trepidation about her europhora to depression, and a soprano voice that finds the matching colors for all emotional states."
Thomas Schacher, Neue Zürcher Zeitung

"Amanda Majeski managed to imbue her Marguerite with a quiet strength in her short opening scene. Later, her ballad of the King of Thulé was a miracle of muted sadness, interspersed by musings — delivered with utter naturalness — on her brief encounter with Faust. The more passionate pages of their glorious love duet revealed a voice of surprising power at times, which stood her in good stead in the church scene and (thrillingly) in the final trio."
Martin Wheeler, Opera News


Rusalka in Rusalka at Oper Frankfurt, 2013

"Amanda Majeski gives a romantic portrait of the Nixie on one hand, but on the other, that of a modern woman. Her crystalline voice offers a powerful, almost jugendlich dramatische design, but is also capable of warm, lyrical tones in the 'Song to the Moon'."
Friedeon Rosén, Der Neue Merker

"The American soprano Amanda Majeski has become a Frankfurt regular, and from her radiantly sung and subtly acted Rusalka one can readily hear and see why. She is a seductive siren incarnate, with a slightly glacial streak to suggest a menacing, inhuman quality. Her Song to the Moon was ravishing."
Hugh Canning, Opera Magazine

"Amanda Majeski is an ideal Rusalka, bringing great warmth to her middle register, but capable of bone-chilling high notes."
Eleanor Büning, Frankfurter Allgemeine Zeitung

"Whether in mermaid or human form, Amanda Majeski dominated the action. Her soprano tackled the high notes effortlessly, touching the 'Song to the Moon' with a deep sorrow."
Klaus Ackermann, Offenbach Post

"Amanda Majeski is a Rusalka with a delicate, bright -- but still solid -- soprano..."
Bernd Zegowitz, MorgenWeb
 


Countess Almaviva in Le nozze di Figaro at Glyndebourne Festival Opera, 2013

"Amanda Majeski's Countess is dignified and moving; her performance of 'Porgi, amor' is poised but deeply reflective (as opposed to the sense of borderline-boredom that sometimes overshadows this aria) and a great showcase for her rich, resonant soprano."
Laura Battle, Financial Times

"American soprano Amanda Majeski is a believably neglected Countess and her slightly dark but very warm tone serves the character extremely well. She is suitably sad and rather touching in 'Porgi, amor' and her longing...is very real and moving when she delivers the sublime 'Dovo sono'."
Margarida Mota-Bull, Seen and Heard International

"[The] tendency to melt at every mention of the Countess is admittedly understandable when the lady in question is the willowy Amanda Majeski, irresistible even when briefly tested by her Act 2 coloratura, superb in 'Porgi, amor' and, especially, 'Dove sono'."
Stephen Walsh, The Arts Desk

"It will be very surprising if...Amanda Majeski's Countess [does] not become [a] well known feature of all the other leading opera houses...her singing was eloquent and touching."
Melanie Eskenazi, Music OMH
 


Eva in Die Meistersinger von Nürnberg at Lyric Opera of Chicago, 2013

"Ryan Center alum Amanda Majeski brought a bright, strong soprano to the role of Eva. Tall and slim, she was an elegant young lover, but also a warm-hearted daughter and friend."
Wynne Delacoma, Chicago Sun-Times

"Soprano Amanda Majeski, one of the Lyric Ryan Opera Center alumni who have gone on to successes elsewhere, used her radiant soprano and tall, willowy figure to advantage as a properly gentle and loving Eva."
John von Rhein, Chicago Tribune

"Amanda Majeski was a stalwart Eva in temperament and vocal color..."
Dennis Polkow, New City Stage

"Amanda Majeski was equally effective as Eva, bringing clear delivery and idiomatic phrasing, and her dialogue with Sachs in the third act ('Sieh, Evchen!') was particularly memorable. But in addition to her fine singing, Majeski was convincing as an actress. Her affinity with Sachs was evident, as well as her excellent ensemble work with tenor John Botha..."
James L. Zychowicz, Seen and Heard International

"Amanda Majeski's ample, youthfully feminine soprano registered beautifully in Eva's music."
Mark Thomas Ketterson, Opera News


The Goosegirl in Königskinder at Oper Frankfurt, 2012

"The Goosegirl, sung with naiveté and warm fervor by the high, angel-voiced soprano Amanda Majeski, is the most musically convincing performance this first night has to offer."
Eleonore Büning, Frankfurter Allgemeine Zeitung

"In her Frankfurt debut, Amanda Majeski portrays the Goosegirl with grace and delicate expression, and the lyrical phrases of her soprano voice enchant."
Eckhard Britsch, Opernnetz

"As the Goosegirl, Amanda Majeski effortlessly soars over the orchestra with introspective lyricism and fully-supported pianissimi..."
Juan Martin Koch, Neue Musikzeitung

"Amanda Majeski, as the Goosegirl, offers a clear, richly expressive and touching soprano, particularly in the moments of great sorrow."
Klaus Ackermann, Offenbach Post

"Amanda Majeski gives this figure innocent attributes. Her humanistic and vocal greatness is expressed in chaste silence."
Andreas Bomba, Nassauische Neue Presse

"Amanda Majeski carries the soul on the vocal cords. Her strength is the sotto voce. Out of womanly fullness, her soprano blossoms delicately, to be easily gathered with an erotic and foreboding full vibrato."
Boris Kehrmann, Opernwelt


Vitellia in La clemenza di Tito at Teatro Real in Madrid, 2012

"The other big success was American soprano Amanda Majeski. Vitellia is a very difficult role -- with an impossible tessitura, highly demanding at both ends of the range. Amanda Majeski excelled in it from start to finish. Her soprano is attractive, smooth, and with a great extension which allows her to meet the immense demands of the character. And apart from being a remarkable singer, she is also a first-rate performer."
José Maria Irurzun, Seen and Heard International
 


Alcina in Alcina at Semperoper Dresden, 2011

"The Semperoper Dresden triggered much applause with its staging of Handel's opera Alcina. After Amanda Majeski's second act aria 'Ah, mio cor' at the premiere on Saturday night, a fan shouted "wunderbar!" -- the highest praise one can receive from the Dresden audience. In fact, the aria sparkled like the glitter on her dress...she was celebrated like a pop star."
Sächsische Zeitung

"To fill all the roles with singers from the ensemble of the Semperoper is a gamble -- but one that has paid off. Of course, no one here gets slim, lightweight, non-vibrato baroque singing -- but all the more vocal strength, expression and color. Above all, Amanda Majeski as Alcina was most effective in her furious outbursts of anger and equally touching in her desperation."
Masha Drost, Deutschlandradio

"Amanda Majeski should not be afraid to be compared with the current great interpreters of Alcina. One would have to search long for such convincing and interpretive magic."
Joachim Lange, Mitteldeutsche Zeitung

"The discovery of the evening is of course Amanda Majeski as Alcina. How she managed the half-dozen arias, nuanced and always with the necessary stage presence, is a talent not so easy to find. The young American is new to the Semperoper ensemble and one can expect more surprises from her in the future."
Michael Ernst, Neueu Musikzeitung
 


Ottone in Vivaldi's Griselda at Santa Fe Opera, 2011

"The bright-voiced soprano Amanda Majeski showed winning flair in the trouser role of Ottone...unconstrained by the protocol of any court."
Anthony Tommasini, New York Times

"The singing is excellent, especially from Isabel Leonard as Costanza, who has the best arias, and Amanda Majeski as Ottone..."
George Loomis, Financial Times

"Soprano Amanda Majeski...sang gloriously in the trouser role of Ottone."
Sarah Bryan Miller, St. Louis Post-Dispatch

"Baroque opera, ultimately, is about singing, and most of the cast rose to the challenges... Standouts include Amanda Majeski, nimble and finely focused in the drag role Ottone..."
Scott Cantrell, Dallas Morning Star

"Amanda Majeski, as the villainous Ottone, simply astonishes, especially in her extraordinary final aria."
John Stege, Santa Fe Reporter

"The soprano Amanda Majeski as Ottone, vainly attempting to woo the disgraced Griselda, brilliant embodies a young man of inflamed desires. Her 'Dopo un'orrida procella' sparkles with virtuoso pyrotechnics."
D.S. Crafts, ABQ Journal

"[Isabel Leonard] shared the biggest ovations of the evening with Amanda Majeski, who sang Ottone, Griselda's unusually threatening other suitor, with a beautiful lyrical ease."
Out West Arts
 


Blanche de la Force in Dialogues des Carmélites at Pittsburgh Opera, 2011

"Amanda Majeski offered a brilliantly nuanced performance as Blanche. Her timbre was clear but not cold. Her voice no less than her stage presence made Blanche a totally sympathetic character."
Mark Kanny, Pittsburgh Tribune

"Soprano Amanda Majeski sang the confused Blanche like a candle flame -- flickering, but revealing a hot core."
Andrew Druckenbrod, Pittsburgh Post-Gazette
 


Agathe in Der Freischütz (excerpts) with Civic Orchestra of Chicago, 2011

"Amanda Majeski, a member of the Lyric's Ryan Opera Center, performed Agathe's two main arias from Carl Maria von Weber's über-German opera. The tall, slender soprano possesses a striking voice with pure tone and flexibility, evenly -- and seemingly effortlessly -- produced throughout its range. The Act 3 cavatina 'Und ob die Wolke' was gracefully assayed but it was Majeski's radiant rendering of the celebrated Act 2 scena and aria 'Leise, leise' that provided the highlight of the evening. The soprano charted Agathe's emotional continuum at her impending marriage from fear and misgiving to unalloyed joy, in an ardent and vividly characterized performance."
Lawrence A. Johnson, Chicago Classical Review
 


Countess Madeleine in Capriccio (excerpts) at Lyric Opera of Chicago's Rising Stars Concert, 2011

"Amanda Majeski's riveting performance in the Moonlight Music and Final Scene from Richard Strauss's Capriccio was not much of a surprise. She ably filled in at the last moment as the Countess in two performances of Lyric's The Marriage of Figaro in winter 2010. And anybody who heard the soprano's blood-chilling performance as Vitellia in Chicago Opera Theater's 2009 production of Mozart's La clemenza di Tito knew she was a singer to watch. The Illinois native brought the same commanding stage presence and gleaming vocal beauty to Strauss's elegant countess on Saturday night. Slim and aristocratic, she paced the stage, luxuriating in the dilemma of choosing between two lovers -- a poet and a composer -- and two forms of art -- poetry and music. Strauss's unsettled, soaring melodies unfurled seamlessly, lingering in the air like golden threads."
Wynne Delacoma, Chicago Classical Review
 


Countess Almaviva in The Marriage of Figaro at Opera Theatre of Saint Louis, 2010

"As the Countess, Amanda Majeski...turn[ed] in a commanding performance. Majeski combined sumptuous yet stylish phrasing and glamorous vocalism to present a youthful, impetuous, passionate Countess."
Judith Malafronte, Opera News

"Fortunately, Amanda Majeski's Countess is worth listening to and includes an affecting, warmly voiced 'Dove sono'..."
George Loomis, The Classical Review

"Amanda Majeski elicits sympathy as the neglected Countess, her voice soaring on occasion as she decries her fate."
Chris Gibson, Broadway World

"As the Countess, soprano Amanda Majeski sang well and easily won our sympathies."
Sarah Bryan Miller, St. Louis Post-Dispatch
 


Countess Almaviva from Le nozze di Figaro at Lyric Opera of Chicago, 2010

"Majeski was instantly Cinderella-fied as the Countess Almaviva. [Her] silvery voice tackled some of the opera's most difficult passages with a dignified melancholy that matched the role...on this night, Majeski owned the stage."
Nora O'Donnell, Chicago Magazine

"Majeski scored another personal success with a Mozart role. The young soprano displayed unquestionable vocal talent, managing the whole role with apparent sangfroid, technical control, and a radiant high register...she accomplished the task admirably, showing at the same time huge potential for her future career. For sure, she proved to be an artist to be followed with great attention."
Claudia Vellutini, Mundoclassico.com
 


Marguerite in Faust at Washington Concert Opera, 2009

"The singing in this production was outstanding, as usual. At the top of the list was soprano Amanda Majeski as Marguerite. Although the opera is titled Faust, Marguerite's fall and redemption gradually emerge as its real focus. Miss Majeski captured every nuance of her character, from her tentative, fearful approach to Faust's advances through the tragedy of her betrayal to her final redemption. Her voice gradually bloomed, revealing a sophisticated mastery of complex emotions, and command of her final dramatic scene brought the evening to a genuinely triumphant conclusion."
T.L. Ponick, Washington Times

"The evening's Marguerite, Amanda Majeski, is a 25-year-old soprano who's been through some significant young artist programs and is clearly destined for bigger things. While hers is a young voice that still has some settling and filling out to do, it already possesses a notable luster, a gleaming top and a genuine trill."
Joe Banno, Washington Post
 


Vitellia in La clemenza di Tito at Chicago Opera Theater, 2009

"Vitellia demands a dramatic soprano with a range of more than two octaves, an incisive attack and full-throttle intensity; all three were Amanda Majeski's to command, and she made a tour de force of her Act 2 aria."
John von Rhein, Opera Magazine

"Majeski threw herself into Vitellia's neurotic edginess, making her Act 2 confessional a genuine tour de force that brought down the house."
John von Rhein, Chicago Tribune

"And what a cast. When Amanda Majeski...starts to sing as the distraught Vitellia, you wonder if she's not some ringer from the Golden Age. This George London Award winner, with a voice that's big, seductive and characterful, has the goods."
Andrew Patner, Chicago Sun-Times

"Amanda Majeski sang an extraordinary Vitellia, her gleaming soprano displaying fluent coloratura and an ample chest register that was used to hair-raising effect in the treacherous octave drop of 'Non più di fiori'."
Mark Thomas Ketterson, Opera News

"Amanda Majeski's Vitellia was a villain to remember. Tall, slim, with a bright, focused soprano that rang through the theater, she swerved between arrogant confidence and panicked doubt. In her final scene, cringing in a corner, she confesses her treachery to Tito in a dazzling outpouring..."
Wynne Delacoma, Musical America
 


Donna Anna in Don Giovanni at San Francisco Opera's Merola Program, 2008

"Most dazzling to these ears was the Donna Anna of soprano Amanda Majeski, a performance marked by refined power, effortless dynamic control and warm tonal color. Everything she did commanded attention, from her explosive contributions in the opening scene to the final rueful 'Non mi dir'. But it was Majeski's rendition of 'Or sai chi l'onore', the gripping moment when Donna Anna realizes at last that it was the title character who assaulted her and murdered her father, that lingered longest in the memory. It was a superbly conceived performance, full of rage and shame and delivered in firm, potent tones."
Joshua Kosman, San Francisco Chronicle