"American soprano Amanda Forsythe makes a spunky Amour, all gold lamé suit and cheeky jobsworth attitude – saving the day, but only just. The ringing purity of her "Soumis au silence" played off nicely against her irreverence, the only touch of dramatic light in an otherwise sober production."

Alexandra Coghlan/The Arts Desk

 

"Flórez is joined in the trio of principals by the silken soprano of Amanda Forsythe as Amour, power-dressed in a gold business suit as the celestial fixer."

 Mark Valencia/WhatsOnStage

 

“Amanda Forsythe (also making a role debut) sang attractively as Amour — full of brightness and character. Dressed in a gold lamé trouser suit this Love is an insouciant cross between Star Wars' C-3PO and Linda Carter's problem-fixing Wonder Woman. Light of heart, irreverent and witty, this is not quite what Gluck envisaged perhaps, but it is amusingly waggish, carried off with style, and complements the wit of the choreography.“  

Claire Seymour/Opera Today

 

"Amanda Forsythe makes an admirable role debut as Amour."

Barry Millington/Evening Standard

 

"Lucy Crowe is a sweet-voiced Eurydice and Amanda Forsythe a splendid Amour"  

Sam Smith/Opera Online

"the cabaret-vamp glamour of Amanda Forsythe’s goddess Amour…there are marvelous things to enjoy"

Richard Morrison/The Times

"Florez receives strong support from the opera’s other roles, with Lucy Crowe offering a Eurydice combining character with vocal grace and her fellow soprano Amanda Forsythe making an equivalent splash as the god Amour (alias Cupid)."

George Hall/The Stage

"With Gardiner’s superb choir and period band honouring the grace of Gluck’s non-stop stream of melodies, and with soloists who both move us (Florez by his gymnastic beauty of tone, Crowe by her imperious force) and also amuse us (Forsythe with Amour’s moralising), musically we are in heaven from start to finish."

Michael Church/The Independent

"Amanda Forsythe’s Amour and Lucy Crowe’s Eurydice both move and entertain with their beautiful vocals, and this cast of three is so effortlessly on-point that the performance is a pure joy."

Camilla Gurtler/A Younger Theatre