operatic credits include the title role in Rossini's La Cenerentola
with the Michigan Opera Theatre touring company, the Second Lady in
Die Zauberflöte with Granite State Opera, and the Third
Lady with Monadnock Music, as well as Rosina in The Barber of Seville,
Dorabella in Cosí fan tutte, Nicklausse in Tales of
Hoffman, Hansel in Hansel and Gretel, Cherubino in The
Marriage of Figaro, and Prince Orlovsky in Die Fledermaus.
She made her Boston Lyric Opera debut in 2000 as one of Akhnaten's daughters
in Philip Glass's Akhnaten, and has returned as Butterfly's Aunt
in Madama Butterfly and in several roles in Tod Machover's Resurrection.Last
season she was featured as Nancy T'ang in Opera Boston's highly acclaimed
production of Nixon in China.
for her oratorio performances in both mezzo and soprano roles, Majie
has appeared with the Boston Symphony Orchestra, the Cantata Singers,
Emmanuel Music and many other choruses and orchestras in works ranging
from Schütz to John Harbison. The last several seasons have included
her "vibrant" performance in last fall's East Coast premiere
of Harbison's Four Psalms, the Bach St. Matthew Passion, B Minor
Mass, and Magnificat with the Cantata Singers under David Hoose, as
well as appearances as cantata soloist with Emmanuel Music under Craig
Smith, and Copland's In the Beginning with the Brookline Chorus
under William Cutter. She has also been featured in the Requiems of
Mozart and Durufle, Handel's Messiah, Mozart's Vesperae solennes
de confessore, and the Mozart Mass in C Minor Mass in the original
Latin as well as with Lorenzo Da Ponte's Italian text, Davidde penitente.
Schütz motets...were marked by musical aplomb...and, in 'Wo der Herr,'
bewitching singing by [the] fine mezzo-soprano, Majie Zeller."
Majie Zeller's fervent delivery of Schütz's 'Paratum cor meum, Deus'
for solo voice showed [a] distinctive individual talent
a breath of fragrant spring air, Zeller's uncommonly beautiful soprano
graced 'Christe eleison' in the Kyrie section and continued with the 'Domine
Deus' in the Gloria section."
Zeller's soprano compels attention with silvery glitter."
of all, though, was a Vaughan Williams masterpiece...an almost unbearably
poignant setting of 'The Unquiet Grave'...as Roberta Anderson, Majie Zeller,
and Gloria Raymond were singing it, Brookline's All Saints Parish seemed
the stillest place in the world."
soloist Majie Zeller...was a delight to hear in a major role."
animated her selections with a variety of tone colors and moods...The
most impressive contribution was Zeller's in three songs by Ravel [in
which] she illumi-nated the gossamer hints and moods of love glimpsed,
teased and idealized...Clear dic-tion and a good sense of the quirky and
languid moods also enlivened Zeller's per-formance in four songs from
Aaron Copland's Twelve Poems of Emily Dickinson."