"Forsythe’s voice is marvelous — clear, florid, and warm at the same time — but the context highlighted her fundamentally superb rhythm. In the faster of her six Handel arias, passagework darted with glinting precision, exhilaratingly even, with confidently audacious ornamentation. (Forsythe’s coloratura provocations in “Tornami a vagheggiar” dropped with timing so exquisite it verged on comic.) But even in slower numbers — “Geloso tormento” (with a plangent oboe obbligato by Debra Nagy), or the moody “Amarti si vorrei,” or especially “Piangerò,” Cleopatra in the depths of despair — Forsythe stretched time without sacrificing temporal structure, the sense of underlying implacability against which the music could expressively push. A two-part encore summed up the evening: Forsythe’s poignant but impeccably controlled rendition of Henry Purcell’s “If love’s a sweet passion” led directly into a thumping, bustling, rather insistent performance of an O’Carolan jig. It was competing forms of stardom: charismatic poise and assertive likability."

The Boston Globe/ Matthew Guerrieri

 

"Forsythe possesses a jaw-dropping facility with the burbling lines and clarion ranges so idiomatic to Baroque music, and she is beloved to local audiences, having performed as soloist with Boston Baroque and the Boston Early Music Festival on numerous occasions. She sang with a shimmering tone and a fine ear to the emotional content of the Handel arias that she presented, fully capturing the fleeting excitement of first love to jealousy and madness. In “Il primo ardor” from Ariodante, her voice took on a light quiver to give the music a feeling of intensity. She did the same with “Tornami a vagheggiar” from Alcina, her high notes plucked out with a flute-like tone. “Geloso tormento” from Almira was especially moving and aptly pained, with Forsythe singing her lines with dark tone and palpable weight. Oboist Debra Nagy added her own emotional touch by spinning sorrowful lines around the singer. Forsythe also found the aching beauty in the outer sections of “Piangerò” from Guilio Cesare, and she dug in for a fiery “Ma poi morta” to give the music a palpable anger. “Da Tempeste” from the same opera returned Forsythe to the dexterous vocal style that characterized her singing earlier in the evening, the singer tossing off the vocal flourishes and arpeggios with ease."

 Boston Classical Review/ Aaron Keebaugh

 

“The cheers for Forsythe were well deserved. She sounded as good as I have heard her, in selections that ranged from a wistful lament accompanied only by basso continuo to brilliant show stoppers joined by the full ensemble. Following period practice, each aria was graced by the type of unwritten embellishment that was one of the principal attractions of this music as originally performed. This led to fireworks far more spectacular than anything Handel ever wrote.“  

The Boston Musical Intelligencer/ David Schulenberg

 

"In “Tornami a vagheggiar”, Forsythe demonstrated her total mastery of baroque style. Her ornamentations were text-based, yet vocally thrilling, her pinpoint perfect high notes exhilarating. I’ve never heard the frequently excerpted aria sung with such rigorous musicianship and high style. Tighten your seatbelts, ladies and gentlemen, this was going to be an exciting evening...With her rendition of “Piangerò,” Forsythe set a new standard. I’ve never heard another singer equal her."

Berkshire Fine Arts/ David Bonetti

 

"Soprano Amanda Forsythe was dynamic and self-possessed in some of the showpiece arias heard on her new solo Handel album with the group. Her staccato notes were impeccably placed and in tune, and she added head-spinning embellishments on the repeats in “Tornami a vagheggiar” from “Alcina” and “Da tempeste il legno infranto” from “Giulio Cesare”."  

The Washington Post/ Charles T. Downey

 

"The program, called "The Power of Love," traced a narrative arc that included "First Love," "Jealousy," and "Delusion and Madness," and offered Forsythe plenty of opportunity to demonstrate her dramatic skills as well as her impressive vocal ability as she navigated the perilous intricacies of Handel's writing. Her command of tone and color was especially noteworthy, reaching its zenith in her dark and brooding "Amarti si vorrei" from Handel's "Teseo" (1713), in which she beautifully conveyed Agilea's dark dilemma — "Oh gods, what cruelty demands that I be unfaithful to you.""

Cleveland Plain Dealer/ Mark Satola