"Shepherd on the Rock"

Handel's Partenope (Boston Baroque)

Opera News:"Soprano Amanda Forsythe owned both the stage and the evening as Queen Partenope, the object of nearly everyone's affections. As both an artist and the character she portrayed, it is easy to see why everyone would fall under her spell — she was seductive, funny, and completely at ease on stage. Forsythe never employs her astonishing virtuosity for merely technical display — her fastest passagework is shaped beautifully, and embellishments seem to contain trills upon trills, all with a very specific emotional and musical purpose. She was simply born for this style of music, and it's easy to imagine that Handel would have loved her. "

Boston Phoenix: "And this was a remarkable cast, especially the scintillating Amanda Forsythe in the title role... Forsythe, singing seven full-length arias (plus duets and other ensembles, everything extremely high and extremely convoluted), was the star she needed to be. Her top range has opened up, so she's now hitting those stratospheric high notes at full volume yet keeping the round sweetness of her tone. She seemed as dewy fresh at the end of the evening as she had sounded three hours earlier. She's an actress with an endearing and knowing slyness — she can be simultaneously flirtatious and deeply loving, girlish and regal. This is a role she was born to play, and aren't we lucky to be around to hear her?"

America Record Guide: "In a production of such depth of talent as this, one is hard-pressed to be concise in one’s praise, but I must certainly begin with Amanda Forsythe, who sang the title role as Partenope, Queen of Naples.  She is now, simply, a world-class singer. Not a single vocal challenge – and there were many – was ungracefully met and surpassed, most often with singular beauty of gleaming tone, effortless fioritura, dead-on intonation, and wonderfully inventive da capo ornamentation. I was not alone in my admiration of her artistry – it was gratifying to observe several members of the orchestra’s peerless woodwind section smiling and nodding to one another in appreciation of what Ms. Forsythe was accomplishing with seemingly effortless aplomb. She literally stopped the show several times as the audience enthusiastically demonstrated its rightful admiration for her work."

The Hub Review: "Just as it once showcased Anna Strada, Partenope this time around proved the perfect frame for one of our most sparkling local stars, the great Amanda Forsythe, who seemed in her best voice ever last Saturday night.  Ms. Forsythe's control and intonation were superb in even the most challenging coloratura passages, and she dared to ornament her arias with notes at the very top of the vocal stratosphere.  And I cannot help but note that this singer is simply one of the best comic actresses in the city; indeed, the lovely Ms. Forsythe balanced with droll grace a tricky blend of romance, wry intelligence and camp that many comediennes would have been hard-pressed to pull off."

Boston Classical Review: "The evening belonged to Amanda Forsythe, who performed the title role. Boston audiences will remember her singing from Boston Baroque’s critically-acclaimed performance and recording of Haydn’s Creation last year and, more recently, the Handel and Haydn Society soirée at Sanders Theatre this past March. As Partenope, Forsythe’s delicate, athletic voice soared above the music, and she handled the winding coloratura lines with ease and grace."

Boston Globe: "Amanda Forsythe was a flirtatious Queen Partenope, who has just founded the city of Naples and is now looking for a husband.  ...Her voice has power and great emotional color and was meltingly beautiful in her ode to the “dear walls” of her city."

Arts Fuse: "Given her enormous dramatic and vocal talent, Amanda Forsythe made Partenope the queen of the stage. Her mood swings toward each of the suitors were done with flair and self-assurance. The libretto was designed to give each of the protagonists recitatives and arias to display their art. Forsythe was nimble, focused, and tonally rich in her contributions. "

Berkshire Fine Arts: "As Partenope Boston favorite Amanda Forsythe demonstrated again that she is one of the great early music sopranos singing today. And she can act in a way that brings her characters to vivid realization. Vocally, Forsythe tossed off one bravura aria after another.  Her ornamentation was chaste and clean, emerging out of text and music with no show-off singing for its own sake. It was as if Gluck’s reforms had been applied a generation early. Another lovely moment was after the battle, when she returns to Partenope (Naples), a “beautiful city on a beautiful day,” in which Forsythe displayed effortless high notes, her entire voice so sweet you can understand why all the men in her court were in love with her."

Verdi's "Falstaff" (Royal Opera House)

Opera News:"The two young lovers, Nannetta and Fenton, were sung by American Amanda Forsythe and Spanish-born Puerto Rican Joel Prieto. Forsythe's luminous soprano rose easily into the high-lying delicacies of her fairy-song."

Gramophone: "The wives are upwardly mobile gossipy ladies of the post-war era – they share some of Verdi’s yummiest music – and I must reserve special mention for Amanda Forsythe’s Nanetta: her repeated refrains with her Fenton are meltingly beautiful."

Musical Criticism: "Amanda Forsythe was a darling Nannetta and should be heard for her spinning pianissimos alone."

The Stage: "The young lovers are beautifully sketched in by Amanda Forsythe’s pristine Nannetta and Joel Prieto’s lithe Fenton."

The Wall Street Journal: "Italian baritone Ambrogio Maestri is a magnificent dissolute knight, physically and vocally captivating and dominating. In the next scene, a posh restaurant, the four women show off the first of Brigitte Reiffenstuel's glamorous 1950s frocks and hats. Fenton (Puerto Rican-Spanish tenor Joel Prieto), the unsuitable suitor for the hand of the soubrette Nannetta (American soprano Amanda Forsythe), is, ingeniously, a waiter. These three singers stand out vocally, in casting that is uniformly fine, and features several house debuts."

Opera Britannia: "Nannetta is an easy win for a young sylph-like soprano and Amanda Forsythe didn’t disappoint...Time stood still in the Act I Fenton—Nannetta duet. Forsythe captured the angst of frustrated teenage love perfectly, doing what all teenagers do – turning to a tub of ice cream! Her Act III aria ‘Sul fil d’un soffio etesio’ had crystalline clarity as she appeared through the mists shrouding the stage."

New Statesman: "Amanda Forsythe’s Nannetta rings out silver above Verdi’s dense ensembles."

Classical-music.com (BBC): "The lovers were touchingly young and sweet...Nanetta (soprano Amanda Forsythe) notably accomplished, floated a sheerly beautiful top A flat in their first scene together."

Bloomberg: "Amanda Forsythe (Nannetta) and Joel Prieto (Fenton) make a handsome and sweet- sounding couple of young lovers."

The Guardian: "Everything sung by the young lovers Fenton and Nannetta (Joel Prieto and Amanda Forsythe, both excellent), is carefully set apart from the onrushing tumult elsewhere."

The Independent: "Amanda Forsythe’s Nannetta spins sweetness on top."

Seen and Heard International: "Joel Prieto and Amanda Forsythe were a sweet-voiced and enchanting pair of lovers; Fenton and Nannetta had an engaging stage presence."

Haydn's Creation (Linn Records)

Opera News:"From start to finish the three vocal soloists, Americans all, project the oratorio's original German text with clarity and point. Each singer phrases the vocal line with unfettered elegance - for example, Amanda Forsythe in Gabriel's ‘Auf starkem Fittiche,' which, for sheer polish and grace, is definitely in the Popp/Bonney/Donath class. It's gratifying to hear Forsythe - who also sings a delectably feminine Eve - displaying such a thorough command of technical niceties (including effortless trills and pristine fioritura), plus a warmth of timbre atypical of most light lyric sopranos."

Fanfare Magazine:"Amanda Forsythe is an immediately appealing Gabriel. Her warm focused tone and light, rapid vibrato exude a Lucia Popp-like joy in the creation and in singing. Her handling of the coloratura is nearly as effortless as that paragon's, with trills nicely placed."

BBC Music Magazine:"With her bright, light-filled tone, Amanda Forsythe gives an accurate, charming reading of the soprano part."

International Record Review:"Amanda Forsythe has a most pleasing voice, bright, clear and readily communicative. She has the agility required...and there is a smile in her voice that is very winning."

Jewish Daily Forward:"There and elsewhere, the singing of soprano Amanda Forsythe is pure delight. Her tone is crystalline, her intonation faultless, her enunciation pellucid - and, best of all, she is a lovely musician and a searching artist. I can't imagine anyone bettering her "Nun beut die Flur," with its jubilant trills and tricky, expertly handled intervals, or her blissful way with Eve's "Der Blumen Duft" in the second duet with Adam."

Time Out NY:"...spring water clear soprano Amanda Forsythe, who aces her ravishing arias and scatters delightful trills-make this well-recorded set a delight."

Handel's "Messiah"

Boston Globe: "But the serenely poised Forsythe, whose international operatic career is soaring for good reason, reigned supreme. With her uncanny pitch control and apparently effortless, pure, and subtle vocal artistry, she cast a spell on the hall every time she rose to sing. Who else could make the word "intercession" sound sexy?"

Steffani's "Niobe" (Royal Opera House)

Opera Britannia: "Only three of the nine members of the cast [were] fully up to and on top of their roles. Kudos then to Iestyn Davies as the flamboyant Creonte, Delphine Galou as the lame (all senses) Nurse, and above all, Amanda Forsythe, excellent as Manto, the not-so-foolish virgin, all of whom managed to sing accurately, put their characters across, and handle the coloratura confidently."

The Arts Desk: "The two other females added much to the mix: Delphine Galou's Nerea, ripe and lively in voice, the harbinger of the end-of-act saltarello, was a handy jester, while Amanda Forsythe's dewy, bright Manto (one to watch) brought a frisky spring to the Theban step."

Musical Opinion (UK): " [A] comforting distraction [was] Amanda Forsythe in her role as a priestess, who seemed to be the only character with spirit and glowing cheeks."

Opera News: "American soprano Amanda Forsythe shone as Manto, priestess of Latona."

Resmusica.com: "Tous les autres rôles sont impeccablement tenus, à commencer par la soprano Amanda Forsythe, tout à fait craquante sous les traits de l’innocente Manto à la découverte de l’amour et de la sensualité."

Volksfreund.de: "Das komplette Ensemble lässt nichts zu wünschen übrig, herausragend die Sängerinnen Amanda Forsythe und Delphine Galou."

Concerto.net: "The rest of the cast did not let Steffani down.Tim Mead was an ardent and lyrical suitor, Amanda Forsythe and Lothar Odinius a lovely and ardent pair of lovers. Forsythe sang with great sweetness conveying the vulnerability of youth."

Mozart's "Le Nozze di Figaro" (Royal Opera House)

The Telegraph (UK): "Amanda Forsythe was an enchanting little Barbarina – I bet we'll be hearing more of her."

Musical Criticism.com: "Fair praise, too, to Amanda Forsythe's enchanting Barbarina."

The Times (UK): "the sky darkens for Barbarina's little aria ( plangently sung by Amanda Forsythe)."

What's on Stage (UK): "The leading lights of the distaff side are Eri Nakumura, honey-voiced and vulnerable as Susanna, and the luminous Barbarina of Amanda Forsythe. Together these two sopranos offer balm to the ear through the tenderness and grace they bring to McVicar’s re-thought staging of Act Four."

Mozart's "Lucio Silla": In un istante...Parto, m'affretto

The Independent (UK): "‘Parto, m' affretto’ (from Lucio Silla) showcases coloratura soprano Amanda Forsythe – a voice to remember."

AllMusic.com: "The program continues with what may be the highlight of the disc, soprano Amanda Forsythe's performance of a recitative and aria from the opera seria Lucio Silla. Forsythe's voice is powerful, intense, pure, and warm, easily taking the limelight…"

Philidelphia Inquirer: "Soprano Amanda Forsythe is the dramatically alert, technically spectacular soloist in the Lucio Silla aria 'Parto, m'affretto'."

The Arts Desk (UK): "The Recitative and Aria from Mozart’s early opera Lucio Silla [are] beautifully sung by Amanda Forsythe."

San Francisco Classical Voice: "This aria isn’t particularly high — I think it tops out at D — but it demands fantastic dexterity and accuracy. And soprano Amanda Forsythe nails everything, with such insouciant ease that you might almost think she was daring the audience to think her capable of misstepping."

Cleveland Plain Dealer: "With her pulsating and richly hued voice, Forsythe turns every phrase into an affecting gesture and sails through the florid passages."

KUHF – Houston public radio: "Soprano Amanda Forsythe shines brightly in the Lucio Silla recitative and aria. Her Italian diction is flawless, and Sorrell is a most expressive partner for her. Ms. Forsythe is a passionate artist with plenty of technique, and the elaborate triplet runs in the aria hold no terrors for her."

Music Web International: "Amanda Forsythe is a brilliant soloist, making light of the difficult part, and flying above the stave with ease. She also has a pure voice devoid of all wobble. Each note is clearly pitched and delivered flawlessly. This is magnificent."

Rossini's "Tancredi"

Wall Street Journal: "Opera Boston was especially fortunate in its Amenaide, Amanda Forsythe, who made a powerful impression earlier this year at the Boston Early Music Festival. Ms. Forsythe showed off a bright, focused soprano, with a lovely range of vocal colors, gorgeous top notes and terrific agility in the role's difficult coloratura passages."

Associated Press: "She could not have had a better partner than her Opera Boston co-star, Amanda Forsythe. As Amenaide, Tancredi's beloved (and, in this production, pregnant with his child!), Forsythe displays a silvery light soprano that contrasts beautifully with Podles' plummy tones. She is also an expert bel canto technician, tossing off Rossini's acrobatics with ease. The duets in which their voices blended magically together were the high point of the evening."

Boston Phoenix: "The heroine of Tancredi, Amenaide, was Boston soprano Amanda Forsythe, whose stage energy restored some of the feistiness of the character in the Voltaire play that's lost in Gaetano Rossi's stilted libretto. Her bright limpid tone and vocal flexibility were a good match for Podles. Forsythe's silk and Podles's velour were also an exciting blend. (Bostonians with long memories could call to mind the thrilling duets delivered by Joan Sutherland and Marilyn Horne in Sarah Caldwell's 1965 production of Semiramide, the last time "serious" Rossini turned up in Boston.) Amenaide's demanding second-act prison aria was another high point. Forsythe's visible state of pregnancy was incorporated into the action, though not always in the best of taste (as when the villain ripped off her dress).. But it was Podles and Forsythe who ignited Tancredi."

The Edge: "Very much in her vocal prime, local favorite Amanda Forsythe made a dream Amenaide. She undertook the taxing role while well along in pregnancy, and the director took advantage of her condition in the staging. Vocally, she has complete dynamic control of her shimmering soprano instrument, and sang with great nuance, swelling and diminishing her tone at will. The lyrical moments, particular the Act 1 prison scene were gorgeous. And the florid passages were done to perfection. This is a major talent, and, as the long-suffering Amenaide, she proved herself a worthy partner to the great Podles."

Boston Herald: "Celebrated Polish contralto Ewa Podles sang the title role, but she was hardly the only exceptional voice onstage. Lyric soprano Amanda Forsythe, steadily establishing her Boston presence, showed that the bel canto repertory is up her alley too, singing the demanding role of Amenaida, Tancredi's misunderstood betrothed."

The Bostonist: "We've heard Amanda Forsythe a few lovely times before, but we're still startled when she begins to sing and it's like molten sugar that's suspended in mid air. (Forsythe's visible, unscripted pregnancy made her vocal work all the more impressive, while enhancing her character's compromised reputation.)  The two had some incredible, ornate duets: you might say that, together, Podleś and Forsythe's voices formed Voltron."

Boston Musical Intelligencer: "Every member of the cast boasted a gorgeous voice, and knew how to use it. Amanda Forsythe as Amenaide set the bar high from the outset with a lovely soprano and an impressive control of the highest pianissimos."

Hub Review: "Indeed, this was easily the best-sung production I've ever heard from Opera Boston.Luckily, lead soprano Amanda Forsythe (left, with Podleś) came equipped with an exquisitely pearl-like tone.But alas, of these vocalists only Forsythe managed anything like a real dramatic characterization."

Monteverdi's "L'Incoronazione di Poppea" and Blow's "Venus and Adonis"

NYTimes: "Amanda Forsythe’s trusting, virtuous Drusilla was too good for him, but that’s the point. She sang the role with a touching and sometimes comic innocence and made easy work of the florid vocal writing in her few solo turns."

NYTimes: "Amanda Forsythe, who made a strong impression as Drusilla in “Poppea,” proved both a more supple and a more virtuosic performer in the brighter spotlight Venus afforded her."

Boston Music Intelligencer: "Leads Keith, Ullmann, and Houtzeel performed exquisitely, but it was Amanda Forsythe who captured her role with such jaw-dropping substance of power and grace."

Hub Review: "Amanda Forsythe made an emotionally compelling and vocally radiant Drusilla."

The Bostonist: "Drusilla (Poppea's unfaithful friend and Poppea's ex-lover's faithful lover) is like dessert, if dessert were something you could sing (which is apparently the case for Amanda Forsythe)."

Boston Phoenix: "And gleaming soprano Amanda Forsythe is a perfect Drusilla, who lends her lover Ottone (German baritone Holger Falk) her clothes when he attempts to murder Poppea and then takes the blame when the plot fails."

Wall Street Journal: "The women were stronger. Amanda Forsythe, as Drusilla, a lady in love with Ottone, has a warm, flexible soprano that made a strong impression."

Wall Street Journal: "On Saturday at Jordan Hall, BEMF offered a double bill of chamber operas: John Blow's "Venus and Adonis" and Marc-Antoine Charpentier's "Actéon," both from the 1680s. Ms. Forsythe again shone as Venus."

Handel's "Xerxes"

Opera Online: "Lastly, a hats-off to Amanda Forsythe and “that little red dress” and her wonderful voice and stage presence, and for the way she rendered a flirtatious Atalanta, playing to the audience, and anyone else in this wonderful cast that caught her eye. It’s difficult with a cast as good as this to pick out any one and say, “that was the one that stole the show,” but if I were to venture down that road, she would be “that one” – a denomination that seems to have garnered some national attention these days as well."

Boston Globe: "and the ever-nimble Amanda Forsythe was a very saucy Atalanta."

Boston Phoenix: "And it had some beautiful and intelligent singing…soprano Amanda Forsythe as Atalanta all but stole the show with her sparkling vocalism and sexy villainy. (Dressed in scarlet, she had a Sarah Palin wink and, ever on the lookout, slipped the conductor her phone number after her evil plot was exposed.)"

Opera Today: "On the female side, only soprano Amanda Forsythe as the foxy, feisty Atalanta, forever interfering, could be described as au fait with Handel and if she was tempted on occasion to over-egg the comedy, it was an appealing performance that showcased some brilliant highwire work."

Opera News: "Where to begin in praising Amanda Forsythe's performance as Romilda's conniving sister, Atalanta? Standing out even in such gifted company, she was superb. The kind of artist one always hopes to discover, she displayed phenomenal technique, crystalline tone and a dynamite stage presence. Her transformation from the quiet sister in the shadows into a Handelian vixen in a slinky red dress will remain one of the highlights of the season. Before Xerxes, Handel composed Atalanta, an opera centered on the same character — please, would someone consider giving Forsythe her own show?"

Rossini's "L'Equivoco Stravagante"

Opera Magazine:  "La partition de Rossini fourmille de reminiscences mozartiennes, comme cet air de Rosalia merveilleusement défendu par Amanda Forsythe.  Avec son soprano léger et fruité, la jeune Americaine nous offre l’un des rares moments de gráce d’une soirée."

Forum Opera: "Enfin, Ricardo Mirabelli et Amanda Forsythe complètent avec talent cette distribution. Malgré le peu de visibilité du rôle, la soprano américaine ne passe pas inaperçue. Toujours présente à son personnage, même quand elle ne chante pas, elle confirme ses qualités en nous charmant dans son air « Quel furbarel d’amore »."

Critical Spectacle: "L'équipe vocale se complète avec Amanda Forsythe, jeune soprano américaine, qui promet une fructueuse carrière internationale, et dont son aire «Quel furbarel d'amore» à l'aspirateur, restera comme une interprétation inoubliable du rôle de la doméstique Rosalia."

La Stampa: "Deliziosa nella sua arietta, invece, è parso il soprano Amanda Forsythe (Rosalia)."

L’Adige: "La Forsythe, nell’unico pezzo di bravura che il ruolo interpretato contiene, ha palesato disinvoltamente delle ottime qualita e fatto intravvedere potenzialita interpretative che vanno al di la della parte."  

Apollo's Fire: Mozart arias

The Cleveland Plain-Dealer: " Haydn's Symphony No. 59 ("Fire") and Mozart's Symphony No. 40 flanked arias by the latter in incandescent performances featuring soprano Amanda Forsythe. Remember her name; she should be a vocal star of coming decades. Forsythe made a major impression several seasons ago with Apollo's Fire in Handel's "Messiah," but she was even more riveting on this occasion. Her supple lyric soprano is an ideal instrument to lift Mozart to the skies. She makes words and emotions tell. No cascade of florid writing eludes her vocal grasp...Forsythe so infused each aria with requisite expressive nuances...In "Zeffiretti lusinghieri," she shaped lines as a series of arching statements and added subtle decorations on the repeat. The atmosphere darkened considerably in "Parto, m'affretto," which Forsythe treated as a tour de force of heated passions and coloratura fireworks.

Sorrell and the orchestra, especially the winds, were superb partners in Mozartean crime, and Forsythe was brought back enough times to justify an encore: "Deh, vieni, non tardar" from "The Marriage of Figaro," in which she one day will be an enchanting Susanna."

(read the preview article from The Cleveland Plain-Dealer)

Handel's "Semele"

The Wall Street Journal: "The most sparkling moments came from the bright, lively soprano of Amanda Forsythe, in the small role of Iris, Juno's servant."

The Boston Globe: "Amanda Forsythe poured out an exceptional chrome-bright soprano and made the comedic most of Juno's eagerly devious assistant Iris."

The Bostonist: "Reclining on a banquet table, Forsythe made the most of Iris's air "There from mortal cares retiring," showing off a strong, delicious voice."

Opera News: "As Juno's sidekick, Amanda Forsythe brought a pealing luminosity to Iris, her vocal purity giving an ironic tinge to her remake as an uptight but super-efficient, personal assistant. Watching Lattimore and Forsythe, clad in their power suits, play off each other was great fun. "Iris, hence away" came off as orders read off an iPod, and in "Hear, mighty queen" Forsythe became the mousy secretary trying to get down once her boss is out of sight."

Handel’s “Ariodante”

Financial Times: "Amanda Forsythe (Dalinda) is the discovery of the evening: songbird voice, impeccable tuning and, like so many Americans, totally at home on stage."

Opera News: "Amanda Forsythe's Dalinda was on a similar level of achievement. Dressed in a sensible gray suit, she portrayed a girl whose burgeoning sexual appetite led her astray: just one look at the dark Byronic locks of Varduhi Abrahamyan's deep-voiced Polinesso, and she was lost."

Le Figaro: "Dans le role clé de Dalinda, sa servante, qui cède aux avances du scélérat Polinesso, la jeune Amanda Forsythe faisait ses débuts au Grand Théâtre. Elle a montré de très grandes qualités vocales."

Le Temps: "Amanda Forsythe fait preuve d'une belle souplesse."

Forum Opera: "La jeune soprano américaine Amanda Forsythe que nous avions remarquée à Pesaro dans Le voyage à Reims tient ses promesses en Dalinda. Le timbre est agréable, la voix légère mais bien projetée et la technique vocale déjà très assurée."

Tribune de Geneve: "Dans cet écrin de rêve, les voix féminines se situent au plus haut. Joyce Di Donato…place la barre à grande altitude. Mais Patricia Petitbon (Ginevra bouleversante et charismatique) et Amanda Forsythe (Dalinda à la musicalité vibrante) la suivent de près."

La Libre Belgique: "Deux jeunes chanteuses, Amanda Forsythe, soprano (Dalinda) et Varduhi Abrahamyan, alto (Polinesso), font une première apparition remarquée dans la maison."

Anaclasse.com: "L'attachante Dalinda d'Amanda Forsythe prend vite de l'assurance, donnant un Il primo ardor (1er acte) sensible et surtout un Neghittosi, or voi che fate d'une agilité confondante."

Resmusica.com: “Amanda Forsythe (Dalinda) respire la fraîcheur, et c’est un régal de l’entendre vocaliser sans apparente difficulté.”

Concerto.net: "On saura donc gré à la direction du Grand Théâtre d’avoir réuni une distribution exceptionnelle, à la tête de laquelle il convient de citer Joyce DiDonato dans le rôle-titre, à la virtuosité époustouflante et à l’aplomb scénique confondant. Patricia Petibon en Ginevra et Amanda Forsythe en Dalinda ne lui cèdent en rien, ni vocalement ni scéniquement."

OperaClick: "Meno note, anche se timbricamente pertinenti ai rispettivi ruoli, sono le voci di Amanda Forsythe e di Varduhi Abrahamyan. La prima e un soprano leggero che con la sua voce chiara e fresca e perfetta nel dar vita alla femminilita superficiale e capricciosa di Dalinda."

Rossini's "Il Viaggio a Reims"

The Stage (UK): "Amanda Forsythe, the outstanding Corinna, is technically in command of the role. Required to sing her final aria from the front stalls, she delivered All’ombra ammena flawlessly with every run in place, the legato lines seamless, the vocal line expressively shaped in support of the text. It was perfection."

Forum Opéra (France): "Trois de ces jeunes chanteurs nous ont semblé particulièrement à suivre : la soprano Amanda Forsythe (Corinna) pour son timbre velouté, sa musicalité et sa légèreté naturelle agrémentée par un délicat vibrato...Chanté du balcon, l’aria « Arpa gentile », avec son exquis legato, offre un moment de grâce qu’on voudrait ne pas voir finir..."

L'opera (Italy): "...segnaliamo le voci che ci sono sembrate particolarmente degne di nota, a partire dalla bravissima Amanda Forsythe, Corinna, bella voce, di timbro morbidissimo e sapientemente gestita sul fiato."

Peter Eötvös’ "Angels in America"

The New York Times: “This is not easy music. Principals sang with confidence...Amanda Forsythe’s Angel was powerfully sung.”

The Boston Globe: “Amanda Forsythe’s voice soared tirelessly aloft as the Angel.”

The Boston Herald: “Amanda Forsythe lends heavenly voice to the Angel.”

EDGE Boston: “Amanda Forsythe provides the opera’s most memorable music as the Angel, and she sings it gorgeously.”

Opera News: “the Angel [was] sung with edgy brilliance by Amanda Forsythe.”

The Financial Times (UK): “Amanda Forsythe sang radiantly as the Angel.”

InNewsWeekly: “the Angel [was] sung in an appropriately glorious soprano by Amanda Forsythe.”

Musical America: “Amanda Forsythe sang gorgeously as the Angel.”

Osvaldo Golijov’s "Ainadamar"

Los Angeles Times: “Nor was there any escaping the raw passion of the young Margarita (Amanda Forsythe).”

San Francisco CV: “Amanda Forsythe, with a brilliant coloratura, [was] the third leading singer as the young Margarita”

Musical America: “as the young Xirgu, Amanda Forsythe complemented Upshaw beautifully.”

The Financial Times: “Amanda Forsythe sang with sparkling clarity as [Dawn Upshaw’s] younger incarnation.”

The New Yorker: “Amanda Forsythe showed [a] crystalline, finely expressive voice [as] Young Margarita.”

The Boston Globe: “wonderful performance…by sweet-voiced soprano Amanda Forsythe as Young Margarita.”

The Boston Herald: “Soprano Amanda Forsythe completed the trio of principals with a charming performance as the Young Margarita.”

The New York Times: “soprano Amanda Forsythe as the young Margarita [was] also impressive.”