American lyric soprano Amanda Majeski is rapidly garnering critical acclaim for a voice of “silvery beauty” (Musical America) that combines “transparent fragility with soulful strength.” (Chicago Sun-Times)

Amanda Majeski’s ²⁰¹⁶⁄₁₇ season will see her perform a trio of beloved Mozart heroines. She opens the Washington National Opera season in one of her signature roles, Countess Almaviva in Le nozze di Figaro. She returns to the Metropolitan Opera in a house role debut as Donna Elvira in Don Giovanni before singing her first Fiordiligi in Opera Omaha’s Così fan tutte. She concludes her season at the Teatro Colón in Buenos Aires, Argentina, as the fiery Cleopatra in Handel’s Giulio Cesare.

Last season, Ms. Majeski brought her acclaimed Countess to the Metropolitan Opera, Lyric Opera of Chicago, and Ópera de Oviedo. She debuted two Strauss heroines in the United States after major European successes: the Marschallin in Der Rosenkavalier at the Lyric and Countess Madeleine in Capriccio at Santa Fe Opera. Ms. Majeski returned to the Glyndebourne Festival as Eva in Die Meistersinger von Nürnberg in David McVicar’s production.

Ms. Majeski made her Metropolitan Opera debut on the opening night of the ²⁰¹⁴⁄₁₅ season as Countess Almaviva in a new production of Le nozze di Figaro conducted by James Levine, which was broadcast in HD around the world and on PBS across the United States. An alumna of the Ryan Opera Center, she made her mainstage Lyric debut with only a few hours’ notice as Countess Almaviva conducted by Sir Andrew Davis. Named “Best Breakout Star” by Chicago magazine, she has continued her relationship with Lyric audiences as Vitellia in La clemenza di Tito, Eva in Die Meistersinger von Nürnberg, and as Marta in The Passenger, hailed as a “shattering, star-making performance” by the Chicago Classical Review.

She made her critically acclaimed role debut as the Marschallin in Claus Guth’s new production of Der Rosenkavalier at Oper Frankfurt, where she has also been seen as the Goose-Girl in Humperdinck’s Königskinder, Vreli in Delius’s A Village Romeo and Juliet, and the title role in Dvořák’s Rusalka. Ms. Majeski made her European debut at the Semperoper Dresden where her performances included new productions of Alcina and La clemenza di Tito, as well as revivals of Le nozze di Figaro and Capriccio. Her significant international debuts include the Glyndebourne Festival as Countess Almaviva, Opernhaus Zürich as Marguerite in a new production of Faust, and Teatro Real in Madrid as Vitellia in the much-acclaimed Herrmann production of La clemenza di Tito. In addition to her work in New York and Chicago, she has appeared at Opera Philadelphia as Donna Elvira in Don Giovanni, Pittsburgh Opera as Blanche de la Force in Poulenc’s Dialogues des Carmélites, and Santa Fe Opera in Vivaldi’s Griselda as Ottone in a production by Peter Sellars.

On the concert stage, Ms. Majeski debuted with Sinfonieorchester Aachen singing Berg’s Sieben frühe Lieder and Mozart’s Requiem. She has been heard in concert singing Agathe’s arias from Der Freischütz with conductor Erik Nielsen and the Civic Orchestra of Chicago and the soprano solo in Mahler’s 4th Symphony with the Quad City Symphony. She also sang Gounod’s Marguerite in concert with Washington Concert Opera, Bach’s Magnificat under Sir Gilbert Levine in Chicago, and Mahler’s 4th Symphony with the Richmond Symphony Orchestra at the Kennedy Center. She made her New York City recital debut at Carnegie’s Weill Recital Hall under the auspices of the Marilyn Horne Foundation and returned for her solo recital debut at Carnegie Hall in 2014.

Ms. Majeski holds degrees from the Curtis Institute of Music and Northwestern University. She was a member of San Francisco Opera’s Merola Program, the Gerdine Young Artist Program at Opera Theatre of St. Louis, and the Steans Institute at Ravinia. Awards include the George London Foundation Award, First Prize of the Palm Beach Opera Vocal Competition, and a Sara Tucker Study Grant from the Richard Tucker Foundation.