Performance Friday, February 7, 2014 | 7:30 PM

Amanda Majeski

Weill Recital Hall
American lyric soprano Amanda Majeski is rapidly garnering acclaim from audiences and critics alike for her portrayal of some of opera’s most famous heroines in both the US and Europe. Having participated in Carnegie Hall’s The Song Continues workshop in 2008, the rising singer returns to thrill audiences once again with her consummate artistry that has been called a “genuine tour de force that brought down the house” (Chicago Tribune).

This concert is part of Salon Encores.


  • Amanda Majeski, Soprano
  • Alan Darling, Piano


  • HAYDN "Berenice, che fai," Hob. XXIVa: 10
  • SCHUMANN Frauenliebe und -leben, Op. 42
    ·· Seit ich ihn gesehen
    ·· Er, der Herrlichste von allen
    ·· Ich kann’s nicht fassen, nicht glauben
    ·· Du Ring an meinem Finger
    ·· Helft mir, ihr Schwestern
    ·· Süsser Freund, du blickest
    ·· An meinem Herzen, an meiner Brust
    ·· Nun hast du mir den ersten Schmerz getan
  • BERG Sieben frühe Lieder
    ·· Schilflied
    ·· Die Nachtigall
    ·· Traumgekrönt
    ·· Im Zimmer
    ·· Liebesode
    ·· Sommertage
  • GRAINGER "Willow Willow"
  • GRAINGER "Died for Love"
  • GRAINGER "The Sprig of Thyme"
  • BRITTEN "Tell Me the Truth About Love"
  • BRITTEN "Funeral Blues"
  • BRITTEN "Johnny"
  • BRITTEN "Calypso"

  • Encores:
  • R. STRAUSS "Cäcilie," Op. 27, No. 2
  • DVOŘÁK "Song to the Moon" from Rusalka

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.


  • Amanda Majeski

    American lyric soprano Amanda Majeski's 2013-2014 season begins with a return to Oper Frankfurt for her role debut in a new production of Rusalka under Sebastian Weigle and her debut at Opernhaus Zürich as Marguerite in Jan Philipp Gloger's new production of Faust. This season also sees her return to the Lyric Opera of Chicago as Vitellia in La clemenza di Tito conducted by Sir Andrew Davis, and Opera Philadelphia in her role debut as Donna Elvira in Don Giovanni. She concludes the season at Oper Frankfurt as Vreli in Delius's A Village Romeo and Juliet. Future seasons will see Ms. Majeski at the Metropolitan Opera, Lyric Opera of Chicago, Royal Opera House (in a new production with Esa-Pekka Salonen), Bavarian State Opera, Salzburg Easter Festival with Christian Thielemann, Saxon State Opera, Oper Frankfurt, Opernhaus Zürich, Glyndebourne Festival, Washington National Opera, Teatro Real in Madrid, Santa Fe Opera, and Opera Philadelphia.

    Last season, Ms. Majeski debuted at Oper Frankfurt in a new production of Humperdinck's Königskinder as the Goose-Girl, a role originated by celebrated soprano Geraldine Farrar. She also returned to the Lyric Opera of Chicago in her role debut as Eva in Die Meistersinger von Nürnberg under Sir Andrew Davis, and made her debut at the Glyndebourne Festival as Countess Almaviva in Michael Grandage's production of Le nozze di Figaro. Her performances in Dresden included the title role in a new production of Handel's Alcina, Countess Madeleine in Richard Strauss's Capriccio, Countess Almaviva in Le nozze di Figaro, and Vitellia in La clemenza di Tito. She also made her debut at Madrid's Teatro Real as Vitellia in the much-acclaimed Karl-Ernst and Ursell Herrmann production of La clemenza di Tito.

    Ms. Majeski is an alumna of the Lyric Opera of Chicago's Ryan Opera Center, where she made her role debut as the Countess Almaviva in Le nozze di Figaro with Sir Andrew Davis. She is also an alumna of the Curtis Institute of Music and Northwestern University. Ms. Majeski is a George London Foundation award winner, the first-prize winner of the Palm Beach Opera Vocal Competition Junior Division, and a recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation. She has also received awards from Opera Theatre of Saint Louis, the Bel Canto Foundation of Rhode Island, the Bel Canto Foundation of Chicago, and Opera Index.

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  • Alan Darling

    Scottish pianist Alan Darling has performed recitals throughout Europe, Canada, and the United States, collaborating with artists such as Isabel Bayrakdarian, Nicole Cabell, Elizabeth Futral, Lynn Harrell, Dina Kuznetsova, Susanna Phillips, Amber Wagner, and Erin Wall. He performed numerous song recitals at the Ravinia Festival from 1993 to 2005. Mr. Darling is a founding member of the ensemble (no tiny birds), a group that is dedicated to rethinking the presentation of art-song recitals. He has collaborated with the Mirror Visions Ensemble on new works for voice and piano by Christopher Berg, Tom Cipullo, Russell Platt, and Scott Wheeler.

    Mr. Darling was educated at the Royal Conservatoire of Scotland, Royal Academy of Music, and the University of Michigan. He studied art-song repertoire with the renowned accompanists Christoph Eschenbach, Martin Isepp, Martin Katz, Graham Johnson, and Malcolm Martineau. Mr. Darling also studied vocal repertoire with many of the world's great singers, including Sir Thomas Allen, Elly Ameling, Victoria de los Angeles, Marilyn Horne, Christa Ludwig, Hermann Prey, and Renata Scotto. He is dedicated to the education of young singers, and was on the faculty of Yale University from 1994 to 1998. He is currently on the faculty of the Bienen School of Music at Northwestern University and the music staff of Lyric Opera of Chicago's Ryan Opera Center.

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At a Glance

In the late 18th and early 19th centuries, it was the "done thing" for composers to write scenas and concert arias for singers independent of full-length operas, and we begin with just such an operatic scene composed by Joseph Haydn for one of the era's great singers, a soprano named Brigida Banti.

Although Schumann did write individual songs, he gravitated to the composition of cycles, including Frauenliebe und -leben (A Woman's Love and Life) to words by a French aristocrat brought up in Germany after the French Revolution. In the year of his marriage to pianist and composer Clara Wieck, Schumann created richly expressive music set to Adelbert von Chamisso's poems in which a woman recounts how she fell in love, married, bore a child, and mourned her beloved husband's death.

The great 20th-century composer Alban Berg, famous for his operas Wozzeck and Lulu, wrote beautiful songs in his youth when he was studying composition with another great 20th-century composer, Arnold Schoenberg. We hear seven consummate late-Romantic songs.

Australian-born composer and pianist Percy Grainger collected and arranged numerous British folk songs, including the three love-laments—two by women, one by a disconsolate man—on this program.

Cabaret songs are Songs of Experience, not Songs of Innocence: In the late 1930s, Benjamin Britten composed a set of four worldly-wise songs to poems by W. H. Auden.
Program Notes
This performance is part of Great Singers III: Evenings of Song.

Part of