Most of the following interview was conducted on the Santa Fe Opera “Ranch” with the much-appreciated facilitation of the Santa Fe Opera:
Wm: I ask my interviewees their earliest memories of music, and of opera. What were yours?
AM: My earliest memories of music come from piano and from dance. As an only child, my parents were very eager to expose me to many extracurriculars, and I naturally gravitated towards artistic endeavors. It was tap dance in particular that first taught me how to feel a piece of music and express myself through the body, and through rhythm. Tap is still a passion of mine, and my shoes come with me to every gig.
[Below: Soprano Amanda Majeski; edited image of a publicity photograph, courtesy of Amanda Majeski.]
Wm: How and at what age did you become interested in vocal performance? Who and what were the major influences in you pursuing opera academically?
AM: I first became interested in vocal performance in High School. It was there that I joined choir, because I thought it would be a fun addition to my dance training. At Carmel Catholic High School in Mundelein, Illinois, there is a unique performance opportunity for students called the “Street Scenes Student Show,” a variety show that combines dance and song; naturally, I was eager to audition. When I was rejected, I thought it might be helpful for next year’s audition if I took some private voice lessons.
My mother and I found an incredible teacher in Kathleen Ferrin, who introduced me to Italian art songs, though I was more eager at the time to sing musical theatre like “Rent.” I did successfully audition for the Student Show the following year, but more importantly, through private lessons I developed a new love for classical music that led me to pursue an education and performance degree at Northwestern University.
While at Northwestern, I studied voice with Theresa Brancaccio, and my passion for opera and the process of music making grew through my study. I was also so lucky to be training in close proximity to Lyric Opera of Chicago, where I was a frequent audience member. I’ll never forget seeing Floyd’s “Susannah,” there; it was after that show that I said to myself, “I’m hooked.”
Wm: What were the factors that led you to a career in opera? Where did you study?
AM: I think my career in opera has been a direct result of hard work meeting opportunity, meeting luck. During my junior year at Northwestern, I noticed my passion shifting intensely towards the performance side of my degree, rather than the music education side of my degree. Acknowledging this, I made a deal with myself: if I got a role in the next opera, that would be my “sign” to drop the education degree, and pursue performance with my whole being. It just so happened that I was indeed cast as Lauretta in Puccini’s “Gianni Schicchi” that winter, which led to a serious discussion with my parents about my career pursuits.
It wasn’t the easiest conversation convincing them that giving up the Music Ed degree was the responsible decision; however, I knew that if I didn’t pursue performance wholeheartedly, and give it a serious shot, I would regret it. Eventually, my parents came on board, as they always do for me. It also helped that my teacher gave them a call to validate my skill, that maybe I really did have a shot at a performance future. From that point, the ball kept rolling. I was accepted to The Curtis Institute of Music for grad school, where I studied with Marlena Malas, and later to the Ryan Opera Center at Lyric Opera of Chicago, which was my dream since first attending opera there.
Wm: You were accepted into San Francisco Opera’s 2008 Merola program where you sang Donna Anna in “Don Giovanni”. What are your thoughts about the Merola program’s approach to training young singers.
AM: Merola is a phenomenal program, especially for young singers on the verge of transitioning from academic to professional life. Not only are there incredible opportunities to perform (I did sing Donna Anna there) but coaches, teachers, singers, directors, and conductors of the highest artistic caliber are brought to the program to work with each young singer. As a result, I grew tremendously. The Don Giovanni in particular was a highlight, because the wonderful Catherine Malfitano directed; learning daily from one of the best singing actresses of our time helped me grow leaps and bounds as a performer.
[Below: Amanda Majeski as the Marschallin in Richard Stsrauss’ “Der Rosenkavalier”; edited image, based on a Cory Weaver photograph for the Lyric Opera of Chicago.]
Wm: A half century before you participated in the San Francisco Opera Merola program, German soprano Elizabeth Schwarzkopf was the company’s lead singer for Mozart and Richard Strauss roles. Your repertory includes all five of the roles she sang in San Francisco – Fiordiligi, Donna Elvira, Countess Almaviva, the Marschallin in Richard Strauss’ “Der Rosenkavalier”, the Countess Madeleine in Richard Strauss’ “Capriccio” [Review: Santa Fe Opera Makes the Case for “Capriccio”- July 27, 2016]. What is there about these particular roles – vocally and dramatically – that attract you?
AM: My first attraction to these roles was of course the music. Mozart and Strauss are both genius composers, pulling the listener into the heart of each character’s emotional journey. And oh do these women have journeys! That’s what I love about all these women— they’re fascinating, they’re interesting, they grow throughout their stories, they’re women of action and of depth. The combination of ravishing music and intricate characters make these roles incredibly challenging but so, so satisfying to study and portray— a life-long vocal and acting pursuit!
[Below: Amanda Majeski as the Countess Madeleine in Richard Strauss’ “Capriccio”; edited image, based on a Ken Howard photograph, courtesy of the Santa Fe Opera.]
Wm: Having performed both Donna Anna and Donna Elvira, do you have a preference between the two roles?
AM: Very much so. I always felt like I was walking a bit of a tightrope with Anna. Her music is so challenging for me, because she sits through the upper passaggio all night, a place where I honestly don’t feel I do my best work. However, with Elvira, I find I can throw my voice around a little more, I can sacrifice a little “beauty” or “perfection” for emotional depth. I enjoy these types of parts so much more, when I get to let go of the analysis of the vocal technique for the subtext of the character.
[Below: Amanda Majeski as Donna Elvira in an Opera Philadelphia production of Mozart’s “Don Giovanni”; edited image, based on a production photograph for Opera Philadelphia.]
Wm: I was present, reviewing the March 2010 Lyric Chicago “Nozze di Figaro” performance in which you replaced an ailing Anne Schwanewilms as the Countess Almaviva [Festival Casting for Lyric Opera’s “Nozze di Figaro” – Chicago, March 9, 2010]. What was it like singing that role with a stellar cast conducted by Maestro Sir Andrew Davis?
AM: It was an out of body experience, for sure! I was actually glad to get such short notice, because I had no time to process, worry, or put intense expectation on myself. It was a whirlwind from costume fitting to walking the stage, to meeting with Sir Andrew. I knew I had such a wonderful, first rate cast surrounding me, every one of whom wished me well, eager to be accomodating. When I put the costume on, something came over me and I was able to give one of my favorite performances of all time. I know now why that was: I was able to let go and be fully present in what I was doing.
[Below: Amanda Majeski as the Countess Almaviva in the Lyric Opera of Chicago production of Mozart’s “Nozze di Figaro”; edited image, based on a Todd Rosenberg photograph for the Lyric Opera of Chicago.]
Wm: I had remarked in a review of your Vitellia in a 2014 production of Mozart’s “Clemenza di Tito” that the role combines a soprano’s high range with a mezzo’s low notes. [Polenzani and DiDonato Triumph as McVicar Illumines “La Clemenza di Tito” – Lyric Opera of Chicago, March 11, 2014]. Last year at the Santa Fe Opera you sang the role of the Composer in Tim Albery’s production of “Ariadne auf Naxos” which is normally cast for a mezzo-soprano. [Review: Santa Fe Opera’s Delectable New “Ariadne auf Naxos” – Santa Fe Opera, July 28, 2018]. How did you come to add that role to your repertory? Are there other mezzo roles that interest you?
AM: Well, it’s important to remember that the role of the Composer was premiered by Lotte Lehmann, a soprano. Now there is more of a trend to hire a mezzo in the role, which is of course understandable; there are so many now who do it so well! Santa Fe Opera has always been a company eager and able to think a bit outside the box, and I believe it was Matthew Epstein who convinced the admin to look my way for that assignment. I’m so glad he did… I just love that role and the freedom playing a man brings to my vocal expression.
[Below: Amanda Majeski as The Composer in Richard Strauss’ “Ariadne auf Naxos; edited image, based on a Ken Howard photograph, courtesy of the Santa Fe Opera.]
I always applaud companies who bring innovation to their casting. I think just as roles like Composer, Cherubino, and Octavian could be portrayed beautifully by sopranos, so too could Donna Elvira, Vitellia, Blanche de la Force etc, be expertly sung by mezzos. The vocal labels, in my mind, are unimportant. What matters is the uniqueness a singer brings to the role, encouraging an audience towards an open mind and an emotional experience.
Wm: At Santa Fe Opera you have appeared in Peter Sellars’ production of Vivaldi’s rarely perfomed “Griselda” [Extreme Makeover: A Vivaldi Revival’s Reveal – Peter Sellars’ “Griselda” at Santa Fe Opera – August 4, 2011] and R. B. Schlather’s production of Mozart’s core repertory opera, “Cosi fan Tutte” [Review: “Cosi Fan Tutte” – World Class Singing, Deconstructed Staging – Santa Fe Opera, July 26, 2019], both in non-traditional productions. How would you like the audience to approach unconventional operatic stagings?
AM: I believe the best thing an audience member can bring to a performance is an open mind. I think when an audience member comes with a clean state, they’re more present with what’s happening onstage, and are thus more connected and primed for an emotional experience. It’s lovely to have favorite productions and recordings and singers, and to celebrate those. But if we as audiences members only attend opera to compare to those favorites, the art form as a whole becomes a bit stunted.
Wm: Since our face-to-face interview last year, the opera world has been impacted by the Covid-19 pandemic. How has been the pandemic impacted you?
AM: Gosh, it’s turned all of our lives upside down, hasn’t it? It’s a rollercoaster. More than anything, I’m grateful. I’m healthy, my family is healthy. We have clean water, and a roof over our heads. I’ve been able to prioritize family and relationships. I’ve cooked more. I’ve slept in my own bed every night. But the truth is that our art form and our artists are in immense pain. I think that eventually, all of this pain will lead to real, necessary, good change in our industry. I, for one, welcome that change wholeheartedly, eager to bring my whole self as person and artist into and through the newness that will emerge. But for now, it’s one day at a time.
AM: Gosh, it’s turned all of our lives upside down, hasn’t it? It’s a rollercoaster. More than anything, I’m grateful. I’m healthy, my family is healthy. We have clean water, and a roof over our heads. I’ve been able to prioritize family and relationships. I’ve cooked more. I’ve slept in my own bed every night. But the truth is that our art form and our artists are in immense pain. I think that eventually, all of this pain will lead to real, necessary, good change in our industry. I, for one, welcome that change wholeheartedly, eager to bring my whole self as person and artist into and through the newness that will emerge. But for now, it’s one day at a time.
Wm: Thank you, Amanda, for a wonderful interview.
AM: Thank you, also!