"...The soprano Amanda Forsythe, a festival favorite, only enhances that status with a seductive portrayal of Poppea."

James R. Oestreich/The New York Times

"...On Tuesday, Amanda Forsythe sang a meltingly supple Poppea, pivoting between the fire and ice the role demands with remarkable smoothness."

Jeremy Eichler/The Boston Globe

"...Poppea was phenomenally well sung, especially by the astounding Australian countertenor David Hansen, Nerone (Nero), whose voice has breathtaking power and thrust (and he can act!—what a petulant future monster he conveyed), and Boston early-music favorite Amanda Forsythe, as Poppea (they were recently superb playing the same roles in Handel's Agrippina with Boston Baroque). "

Lloyd Schwartz/New York Arts

"...The sexually manipulative Poppea is played to perfection by Boston favorite soprano Amanda Forsythe, whose costume, posture, makeup, and singing send shivers through one's spine."

Susan Miron/Arts Fuse

"...Amanda Forsythe (Dalinda) is the discovery of the evening: songbird voice, impeccable tuning and, like so many Americans, totally at home on stage."

Financial Times

"...Amanda Forsythe's Dalinda was on a similar level of achievement. Dressed in a sensible gray suit, she portrayed a girl whose burgeoning sexual appetite led her astray: just one look at the dark Byronic locks of Varduhi Abrahamyan's deep-voiced Polinesso, and she was lost."

Opera News

"...Dans le role clé de Dalinda, sa servante, qui cède aux avances du scélérat Polinesso, la jeune Amanda Forsythe faisait ses débuts au Grand Théâtre. Elle a montré de très grandes qualités vocales."

Le Figaro

"...Amanda Forsythe fait preuve d'une belle souplesse."

Le Temps

"...La jeune soprano américaine Amanda Forsythe que nous avions remarquée à Pesaro dans Le voyage à Reims tient ses promesses en Dalinda. Le timbre est agréable, la voix légère mais bien projetée et la technique vocale déjà très assurée."

Forum Opera

"...Dans cet écrin de rêve, les voix féminines se situent au plus haut. Joyce Di Donato…place la barre à grande altitude. Mais Patricia Petitbon (Ginevra bouleversante et charismatique) et Amanda Forsythe (Dalinda à la musicalité vibrante) la suivent de près."

Tribune de Geneve

"...Deux jeunes chanteuses, Amanda Forsythe, soprano (Dalinda) et Varduhi Abrahamyan, alto (Polinesso), font une première apparition remarquée dans la maison."

La Libre Belgique

"...L'attachante Dalinda d'Amanda Forsythe prend vite de l'assurance, donnant un Il primo ardor (1er acte) sensible et surtout un Neghittosi, or voi che fate d'une agilité confondante."

Anaclasse.com

“...Amanda Forsythe (Dalinda) respire la fraîcheur, et c’est un régal de l’entendre vocaliser sans apparente difficulté.”

Resmusica.com

"...On saura donc gré à la direction du Grand Théâtre d’avoir réuni une distribution exceptionnelle, à la tête de laquelle il convient de citer Joyce DiDonato dans le rôle-titre, à la virtuosité époustouflante et à l’aplomb scénique confondant. Patricia Petibon en Ginevra et Amanda Forsythe en Dalinda ne lui cèdent en rien, ni vocalement ni scéniquement."

Concerto.net

"...Meno note, anche se timbricamente pertinenti ai rispettivi ruoli, sono le voci di Amanda Forsythe e di Varduhi Abrahamyan. La prima e un soprano leggero che con la sua voce chiara e fresca e perfetta nel dar vita alla femminilita superficiale e capricciosa di Dalinda."

OperaClick

"...Amanda Forsythe, the outstanding Corinna, is technically in command of the role. Required to sing her final aria from the front stalls, she delivered All’ombra ammena flawlessly with every run in place, the legato lines seamless, the vocal line expressively shaped in support of the text. It was perfection."

The Stage (UK)

"...Trois de ces jeunes chanteurs nous ont semblé particulièrement à suivre : la soprano Amanda Forsythe (Corinna) pour son timbre velouté, sa musicalité et sa légèreté naturelle agrémentée par un délicat vibrato...Chanté du balcon, l’aria « Arpa gentile », avec son exquis legato, offre un moment de grâce qu’on voudrait ne pas voir finir..."

Forum Opéra (France)

"...segnaliamo le voci che ci sono sembrate particolarmente degne di nota, a partire dalla bravissima Amanda Forsythe, Corinna, bella voce, di timbro morbidissimo e sapientemente gestita sul fiato."

L'opera (Italy)

“...Nor was there any escaping the raw passion of the young Margarita (Amanda Forsythe).”

Los Angeles Times

“...Amanda Forsythe, with a brilliant coloratura, [was] the third leading singer as the young Margarita”

San Francisco CV

“...as the young Xirgu, Amanda Forsythe complemented Upshaw beautifully.”

Musical America

“...Amanda Forsythe sang with sparkling clarity as [Dawn Upshaw’s] younger incarnation.”

The Financial Times

“...Amanda Forsythe showed [a] crystalline, finely expressive voice [as] Young Margarita.”

The New Yorker

“...wonderful performance…by sweet-voiced soprano Amanda Forsythe as Young Margarita.”

The Boston Globe

“...Soprano Amanda Forsythe completed the trio of principals with a charming performance as the Young Margarita.”

The Boston Herald

“...soprano Amanda Forsythe as the young Margarita [was] also impressive.”

The New York Times

“...This is not easy music. Principals sang with confidence...Amanda Forsythe’s Angel was powerfully sung.”

The New York Times

“...Amanda Forsythe’s voice soared tirelessly aloft as the Angel.”

The Boston Globe

“...Amanda Forsythe lends heavenly voice to the Angel.”

The Boston Herald

“...Amanda Forsythe provides the opera’s most memorable music as the Angel, and she sings it gorgeously.”

EDGE Boston

“...the Angel [was] sung with edgy brilliance by Amanda Forsythe.”

Opera News

“...Amanda Forsythe sang radiantly as the Angel.”

The Financial Times (UK)

“...the Angel [was] sung in an appropriately glorious soprano by Amanda Forsythe.”

InNewsWeekly

“...Amanda Forsythe sang gorgeously as the Angel.”

Musical America