"...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."

Wall Street Journal

"...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."

Associated Press

"...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."

Boston Phoenix

"...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."

The Edge

"...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."

Boston Herald

"...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."

The Bostonist

"...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."

Boston Musical Intelligencer

"...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."

Hub Review