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

The Independent (UK)

"...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…"


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

Philidelphia Inquirer

"...The Recitative and Aria from Mozart’s early opera Lucio Silla [are] beautifully sung by Amanda Forsythe."

The Arts Desk (UK)

"...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."

San Francisco Classical Voice

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

Cleveland Plain Dealer

"...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."

KUHF – Houston public radio

"...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."

Music Web International

"...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

"...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."

Opera Online

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

Boston Globe

"...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.)"

Boston Phoenix

"...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 Today

"...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?"

Opera News

"...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."

Opera Magazine

"...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 »."

Forum Opera

"...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."

Critical Spectacle

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

La Stampa

 "...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." 


"...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."

Opera Britannia

"...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."

The Arts Desk

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

Musical Opinion (UK)

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

Opera News

"...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."


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


"...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."


" ...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."

The Cleveland Plain-Dealer

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