"...Amanda Forsythe owned the role of Poppea, exuding feistiness, style, and gleaming tone."

Jeremy Eichler/The Boston Globe

"...Forsythe's agile soprano, with crystalline staccati, was perfect for portraying Poppea's lighthearted and empty-headed gaiety. But as the opera progresses and Poppea experiences betrayal, she matures, and Forsythe's performance deepens."

Angelo Mao/Boston Classical Review

"...Poppea was Amanda Forsythe (another favorite guest artist of Boston Baroque), who was just delicious in a shocking-pink gown with a few too many necklaces. I had enjoyed Hansen and Forsythe two weeks ago at a program of Monteverdi (sponsored by Boston Early Music Festival); they have fabulous comic chemistry."

Susan Miron/The Boston Musical Intelligencer

"...As Poppea, the material girl in love with jewels and pearls, who sets the lust of half the male members of cast in overdrive, Amanda Forsythe played the role to comic perfection, shooting glances, taking poses, endlessly primping, all the while producing the sweet, seamless soprano she is known for."

David Bonetti/Berkshire Fine Arts

"...Amanda Forsythe’s trusting, virtuous Drusilla was too good for him, but that’s the point. She sang the role with a touching and sometimes comic innocence and made easy work of the florid vocal writing in her few solo turns."

NYTimes

"...Amanda Forsythe, who made a strong impression as Drusilla in “Poppea,” proved both a more supple and a more virtuosic performer in the brighter spotlight Venus afforded her."

NYTimes

"Leads Keith, Ullmann, and Houtzeel performed exquisitely, but it was Amanda Forsythe who captured her role with such jaw-dropping substance of power and grace."

Boston Music Intelligencer

"...Amanda Forsythe made an emotionally compelling and vocally radiant Drusilla."

Hub Review

"...Drusilla (Poppea's unfaithful friend and Poppea's ex-lover's faithful lover) is like dessert, if dessert were something you could sing (which is apparently the case for Amanda Forsythe)."

The Bostonist

"...And gleaming soprano Amanda Forsythe is a perfect Drusilla, who lends her lover Ottone (German baritone Holger Falk) her clothes when he attempts to murder Poppea and then takes the blame when the plot fails."

Boston Phoenix

"...The women were stronger. Amanda Forsythe, as Drusilla, a lady in love with Ottone, has a warm, flexible soprano that made a strong impression."

Wall Street Journal

"...On Saturday at Jordan Hall, BEMF offered a double bill of chamber operas: John Blow's "Venus and Adonis" and Marc-Antoine Charpentier's "Actéon," both from the 1680s. Ms. Forsythe again shone as Venus."

Wall Street Journal

"...But really this was soprano Forsythe's show. Her voice was clear, nimble, and expressive; she seemed to take risks with complete sang-froid, and to be incapable of any gesture, inflection, or ornament that is stale or lacking in taste. Her part was massive, including a grand final sequence of arias and recitatives that gave her moral revelation astonishing impact."

David Gorden Duke/Classical Voice

"...As is well known by now, soprano Amanda Forsythe's vocal control and sense of Baroque style is quite formidable... This was in no sense a serene or tender characterization from the outset, but rather a buoyant, confident, almost brazen Beauty, full of virtuoso cut and thrust, with strong accents and dynamics, and angular projection. Coupled with a white timbre at the top of her register and her intensity, this was certainly strong and distinctive. But, as it turns out, that was the point: it is only when Beauty ultimately yields at the end of the second part that we see her vulnerable side, her emotions and her true beauty. The soprano's closing aria, "Pure immortal beings...," was incredibly inward and touching."

Geoffrey Newman/Seen and Heard International

"...et puis il y avait cette merveille de soprano, l'Américaine Amanda Forsythe, narguant le «Temps», malicieuse, espiègle «Beauté» dont la voix riche virevoltait d'aisance jusque dans ses vocalises qui à aucun moment ne perdaient la signification musicale qu'elles portaient, et finalement alter ego de Haendel libérant par sa beauté sonore la musique du temps et la joie de l'écoute, loin des leçons de morale... Superbe."

J.J. Van Vlassevaer/La Presse

 "...The St. Thomas soloists...made an effective team on Tuesday, each with an attractive tonal quality, an obvious desire to communicate the text and an inventiveness in ornamentation that was usually to the musical and textual point. Ms. Forsythe — who demonstrated her Handel mastery at the Boston Early Music Festival in June, in the centerpiece opera, "Almira" — was again wonderful, growing stronger as the evening went on."

James R. Oestreich/The New York Times

"...Amanda Forsythe, who I have praised often in my reviews of her Boston appearances, was at her very best—and truly splendid."

Michael Miller/New York Arts

"...Amanda Forsythe's clear, French-sounding soprano was always a joy in Jemmy's music."

Carlos Maria Solare / Opera

 "...Amanda Forsythe has the perfect, slender, slight physique and the most pure, lyrically focused, light soprano voice, all of which make her the ideal Jemmy, Guillaume's son. Her aria, just ahead of the apple-shooting episode, Sois immobile, et vers la terre, was one of the evening's great highlights"

Jack Buckley / Seen and Heard International

 "...Le reste de l'équipe vocale est à l'avenant, avec notamment un magnifique Jemmy chanté par Amanda Forsythe"

Claudio Poloni / ConcertoNet.com

"...Jemmy è impersonato da Amanda Forsythe, la cui bella voce, calda e ricca di armonici, restituisce molto bene il patetismo della grande scena del pomo del III atto; ottima la sua prova anche nel terzetto femminile del IV atto; semplicemente perfetto il physique du rôle en travesti della cantante."

Michele Curnis/ GBOPERA

"...Amanda Forsythe gefällt als Tells Sohn Jemmy vor allem dank szenischer Spielfreude."

Von Josef Schmitt/Die Presse.com

"...Sohn Jemmy (sehr berührend: Amanda Forsythe)"

Derek Weber/KlassikInfo.de

"...Amanda Forsythe überzeugt als Tells Sohn Jemmy mit jugendlichem Spiel und herrlich frischen Koloraturen, die die Unbekümmertheit des jungen Tell wunderbar zum Ausdruck bringen."

Thomas Molke/Online Musik Magazin

"...As Edilia, crossed in love and not shy about expressing her feelings, Amanda Forsythe was the star of the show. Her soprano has just the right amount of weight and vibrato; it soars, spins and sparkles with high dudgeon. She is also a total actress. Rage arias steadily gathered steam and exploded: In "Proverai," she unleashed her fury at the fickle Osman in a torrent of roulades; she reeled him in with her voice and her body, pretending to kiss him, then commandeered his sword and threatened him with it and an even higher and wilder cascade of ornaments."

The Wall Street Journal

"...Amanda Forsythe sang with pointed energy, lithe technique, and superb intensity in the role of Edilia, earning the biggest cheers of the night for her explosive delivery of the aria “Proverai” at the end of Act 2."

The Boston Globe

"...The sopranos Ulrike Hofbauer (Almira) and Amanda Forsythe (Edilia), especially, were standouts, Ms. Hofbauer bringing a sweetness and vulnerability to her regal bearing and Ms. Forsythe simply dazzling in her fioritura and her altitudinous rages."

The New York Times

"...The real star of the evening was, no surprise, soprano Amanda Forsythe as the Princess Edilia. A beloved Boston figure, she’s got magic in her sparkling voice, and she seems incapable of singing a note that isn’t completely in character. She excels in parts that show wit and gumption (as did Steffani’s Niobe, who was almost a villainess). Edilia is probably the most complex character in Almira, the princess who finally abandons her obsession for the faithless Osman for a truer lover, who actually prefers her to the queen. Her rage aria, which closes the second act with an explosion of passionate coloratura, deserved the cheers it received."

New York Arts

"...[she] was outshone dramatically, however, by local favorite Amanda Forsythe, who as always proved virtuosic vocally, and also happens to be one of the best actresses on the operatic stage; Forsythe tore through the furious “Der Himmel wird straffen" with such force, in fact, that she all but brought down the house."

Hub Review

"...The audience favorite was Amanda Forsythe as Edilia. The rage aria, “Der Himmel wird straffen,” showcased her Queen-of-the-Night coloratura technique, and richly powerful vocal and dynamic range."

The Boston Musical Intelligencer

"...As Princess Edilia, soprano Amanda Forsythe was comely, self-assured, brilliant and characterful. Handel offers Edilia the brightest of coloratura escapades, and Ms. Forsythe nailed every offered opportunity with panache and gleaming tone."

The Boston Musical Intelligencer

"...As Edilia, who is ultimately paired with the disguised King of Mauretania, Raymondo (Tyler Duncan), Amanda Forsythe—a Boston favorite—nearly stole the show every time she sang her sparkling coloratura arias. She dazzles."

The Arts Fuse