Page 33 - 2020 Classical Singer Magazine January Summer Program Issue

“Majeski exudes both ‘grace and grit. She lives a full life outside of the world of opera, and I know how dif cult it can be to balance the challenges of home and work.’”
And when she’s home she says her free time is “slow and steady—taking walks with my family along Lake Michigan, eating good food, and watching a little trashy reality TV.”
Handley says that their rigorous rehearsal and performance schedules mean they try to make the most of any time they are together—or any time they’re at least in the same time zone. “Sometimes we have last-minute trips across the country if a rehearsal is suddenly cancelled and there’s a long weekend, but we mostly work to always get to the other right after the show is over,” he says. “Amanda deeply values her time with family, and we make every e ort possible to attend important events.”
Majeski is proud that her 11-year- old stepdaughter has her own interests but also enjoys opera and travels to attend shows sometimes. “I am happy that she has the best of both worlds—a normal childhood in Wisconsin as well as [traveling] to
all sorts of di erent locations when she’s not in school,” Majeski says. In fact, last summer, her stepdaughter had a special chance meeting. “I was so excited that she was able to meet Ruth Bader Ginsburg in Santa Fe last year when they happened to attend the same show.”
Kathleen Buccleugh is a soprano and journalist living in Birmingham, Alabama.
shows together and they formed a solid friendship.
Fons describes Majeski as honest, generous, and persistent, endowed with the “ re needed to go out
and conquer the di cult aspects
of what we do.” To sum it up, Fons says, Majeski exudes both “grace and grit. She lives a full life outside of the world of opera, and I know how di cult it can be to balance the challenges of home and work.”
They have had one opportunity to perform together since their time at the Ryan Opera Center, with Fons as Dorabella and Majeski as Fiordiligi in Opera Omaha’s 2017 production of Così fan tutte. “It’s very special to not only work as colleagues but as friends,” Fons says, “and what could be more fun than playing sisters?”
Fons says that Majeski emanates that perfect balance of con dence and humility that is required of great performers. “Amanda cares deeply that her performance is always the best she can present, and that is so evident in her musicality, character development, and teamwork onstage,” she says. “Her incredible work ethic and attention to detail elevate her
innate talent to new levels time after time.”
While Majeski is on the road, she keeps up not only her performing career but a side skill: tap dancing. She danced throughout high school and college. “I performed with a phenomenal, professional female tap company called Rhythm ISS,” Majeski says. “Though singing eventually took over my time, I never lost the passion for dance—I try to keep up my skills when I am on the road by taking classes where I can nd them. One day someone will write an opera for a tap-dancing soprano, I know it.”
Fons says that though she knew Majeski performs tap, she has not seen those skills rsthand. They have, however, gotten to do some choreography onstage. “I’m sure Amanda can tell you about the time we performed the ‘Sisters’ duet from White Christmas with all the original choreography for an event at Lyric Opera of Chicago,” Fons says.
Through all the travel, various gigs, and varied interests, it all comes back to family for Majeski. “My family means the world to me and are my reason for singing,” she says.
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