"...The cast, led by the glowing soprano Dominique Labelle, as the witch Medea, and the outstanding lyric soprano Amanda Forsythe in the title role, also afforded many moments of unalloyed musical pleasure. Ms. Forsythe sang the part of Teseo with a vibrant and focused soprano that brought out a likable mixture of military courage and emotional vulnerability in the young hero. Her opening aria, “Quanto ch’a me sian care,” was beautifully sung, with a slender, gleaming sound."

The New York Times

"...Soprano Amanda Forsythe was a heroic Theseus, singing in broad, martial cadences that still made room for a show of lovelorn emotion, and studded with superb bursts of precise, seemingly effortless coloratura."

San Francisco Chronicle

"...Soprano Amanda Forsythe was tremendous in the role of Teseo. Her singing was focused and agile, yet she was completely at ease with the character's dramatic swagger."

David Weininger/Boston Globe

"...Both were sung by sopranos whose voices are in full bloom and whose technique makes light of Handel's firework coloratura. As Teseo, Amanda Forsythe brought a metallic gleam and cool focus to the trouser role."

Corinna da Fonseca-Wollheim/The New York Times

"...Teseo was sung with agility, tonal splendor and dramatic firepower by soprano Amanda Forsythe, a star on the early-music scene."

Andrew L. Pincus/Berkshire Eagle

"...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. "

Opera News

"...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?"

Boston Phoenix

"...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."

America Record Guide

"...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."

The Hub 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 Classical Review

"...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."

Boston Globe

"...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. "

Arts Fuse

"...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."

Berkshire Fine Arts

"...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."

Opera News

"...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."


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

Musical Criticism

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

The Stage

"...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."

The Wall Street Journal

"...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."

Opera Britannia

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

New Statesman

"...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."

Classical-music.com (BBC)

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


"...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 Guardian

"...Amanda Forsythe’s Nannetta spins sweetness on top."

The Independent

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

Seen and Heard International

"...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."

Opera News

"...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."

Fanfare Magazine

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

BBC Music Magazine

"...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."

International Record Review

"...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."

Jewish Daily Forward

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

Time Out NY

"...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?"

Boston Globe

"...Amanda Forsythe was an enchanting little Barbarina – I bet we'll be hearing more of her."

The Telegraph (UK)

"...Fair praise, too, to Amanda Forsythe's enchanting Barbarina."

Musical Criticism.com

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

The Times (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."

What's on Stage (UK)