Amanda Forsythe 

The American soprano Amanda Forsythe sings Euridice on the recording of Charpentier’s La descente d'Orphée aux enfers with Boston Early Music Festival which won the 2015 GRAMMY AWARD for Best Opera Recording.  She has been praised by Opera News for her “light and luster", “wonderful agility and silvery top notes”. She was a winner of the George London Foundation Awards and was sponsored by them in her New York recital début. She also received prizes from the Liederkranz Foundation and the Walter W. Naumburg Foundation.

Amanda Forsythe made her European operatic début in the role of Corinna Il viaggio a Reims at the Rossini Opera Festival in Pesaro which led to an immediate invitation to make her début at the Grand Théâtre de Genève as Dalinda Ariodante where she was proclaimed “the discovery of the evening” (Financial Times). She returned to the Rossini Opera Festival to perform the role of Rosalia L’equivoco stravagante and Bellini duets in the ‘Malibran’ recital at the invitation of Joyce di Donato, and, most recently, Jemmy in the new production of Guillaume Tell for which she received considerable critical acclaim.

Amanda Forsythe made her débuts at the Bavarian State Opera, Munich as Dalinda Ariodante and as Barbarina Le nozze di Figaro at the Royal Opera House, Covent Garden and the Theatre des Champs-Elysées in Paris. She returned to Covent Garden to perform the roles of Manto in Steffani’s Niobe, regina di Tebe under Thomas Hengelbrock and Nannetta Falstaff under Daniele Gatti, described by Gramophone Magazine as “meltingly beautiful”. She also sang Nannetta for Opéra d’Angers-Nantes

Amanda Forsythe made her USA stage début with Boston Early Music Festival, where her roles have included Niobe and Manto (recording) in Niobe, regina di Tebe, Galatea Acis and Galatea, Aglaure in Lully’s Psyché, Venus Venus and Adonis (John Blow), Drusilla L'incoronazione di Poppea, Pallas in Eccles’ The Judgment of Paris and Edilia in Handel's Almira, for which she received rave reviews.

Amanda Forsythe’s operatic repertoire also includes Iris Semele, Poppea Agrippina, the title role in Partenope, Amenaide in Rossini’s Tancredi, Bastienne Bastien und Bastienne, Serpina La serva padrona, Ninfa/Proserpina Orfeo (Monteverdi), Amore Il ritorno d’Ulisse in patria, Oberto Alcina, Dafne Apollo e Dafne, Atalanta Xerxes, and roles in Les Indes Galantes and The Fairy Queen.

Amanda Forsythe created the role of Young Margarta/Nuria in Osvaldo Golijov’s Ainadamar, a role which she later repeated with the Los Angeles Philharmonic and the Calgary Philharmonic. She also received high critical acclaim for her début as The Angel in the North American première of Peter Eötvös’ opera, Angels in America. She has also sung world premières by John Austin and Elena Ruher, and recorded songs by the composer Ken Sullivan.

Amanda Forsythe’s concert engagements in North America have included her recent débuts at Tanglewood Festival and the Lincoln Centre in the title role of Teseo with the Philharmonia Baroque, and her début with Seattle Symphony in Handel’s Messiah. Other highlights have included Dorinda Orlando and Handel’s Il trionfo del tempo with Early Music Vancouver, Dafne Apollo e Dafne with Pacific Musicworks, and Haydn and Mozart arias with Apollo’s Fire, Handel arias with Portland Baroque Orchestra, Mozart’s Mass in C Minor with the Handel and Haydn Society, Haydn’s Creation and Messiah with the Charlotte Symphony and Vagaus Juditha Triumphans with Boston Baroque.

Overseas major concert engagements have included Alexander’s Feast with the Ulster Orchestra and L’allegro, il perseroso, ed il moderato with the Netherlands Radio Chamber Philharmonic, both under Kenneth Montgomery, Rossini Arias at Gran Teatro la Fenice in Venice, Scarlatti Pastorale per la natività and arias from Messiah with the Brabants Philharmonic Orchestra in the Netherlands, and Mahler Second Symphony with L’Orquesta Sinfonica Nacional de Mexico.

Amanda Forsythe is a regular soloist with the highly acclaimed baroque ensembles Philharmonia Baroque, Apollo’s Fire, Boston Baroque and Pacific Musicworks. Her concert repertoire also includes Handel’s Israel in Egypt, Mozart’s Exsultate Jubilate, Vivaldi’s Nulla in mundo pax sincera, Pergolesi's Stabat Mater and Orff’s Carmina Burana.

Amanda Forsythe recently returned to the Royal Opera House, Covent Garden, as Amour in Gluck’s Orfeo under Sir John Eliot Gardiner, a role she repeated in concerts with the Monteverdi Choir and Orchestra on tour. Earlier last year she made her début at Seattle Opera as Iris Semele which resulted in an immediate invitation to return to sing Pamina Die Zauberflöte in 2017. She also recently sang Poppea L’incoronazione di Poppea for Boston Early Music Festival, and Poppea Agrippina for Boston Baroque.  Later this year she returns to the Accademia Nazionale di Santa Cecilia to sing Marzelline in concert performances of Fidelio. Opera engagements in 2017 include Isabelle Le Carnaval de Venise (Campra) and a Pergolesi Double Bill with Boston Early Music Festival.

On the concert platform, Amanda Forsythe recently made her her débuts with Boston Symphony under Andris Nelsons in Mendelssohn’s A Midsummer Night’s Dream and with the Accademia Nazionale di Santa Cecilia in Rome singing Bach Magnificat under Sir Antonio Pappano. Other concert engagements this season include a tour of Mozart Requiem and Mass in C minor with the Monteverdi Choir and Orchestra under Sir John Eliot Gardiner, Messiah with Philharmonia Baroque and Kansas City Symphony, Bach Cantata 51 and Vivaldi's Gloria with Seattle Symphony, Handel and Vivaldi Concert arias and performances and a recording of Bach St John Passion with Apollo’s Fire. She makes her début with Chicago Symphony Orchestra in December 2016 in performances of Handel’s Sileti venti and Laudate pueri under Nicholas Kraemer. Other forthcoming engagements include Bach Mass in B Minor and Bach Magnificat at the Oregon Bach Festival under Matthew Halls, singing Eurydice in Gluck’s Orfeo on a European tour with Philippe Jaroussky and Iole Hercules with the Handel and Haydn Society.

Amanda Forsythe’s recordings include the 2015 Grammy-winning CD of Charpentier’s La déscente d'Orphée aux enfers, as well as Venus Venus and Adonis, Aglaure Lully’s Psyché, and La Grande Pretresse in Lully’s Thésée with Boston Early Music Festival (all forCPO), Manto Stefani’s Niobe with BEMF (Erato), the title role in Handel’s Teseo with Philharmonia Baroque (PBO’s own label) , Mozart’s Lucio Silla: In un istante ... Parto, m'affretto and Messiah with Apollo’s Fire (Avie), Minerve Dorinda Handel’s Orlando with Early Music Vancouver (ATMA) and Haydn’s Creation with Boston Baroque (Linn). She also sings on the DVD recordings of the Pesaro productions of L'equivoco stravagante and Guillaume Tell as well as Manto in the Royal Opera production of Stefani’s Niobe (Opus Arte).

Her début solo recording of Handel arias with Apollo’s Fire was recently released on the Avie label.

March 2016

Solo Début Album - The Power of Love (Handel Arias)

With Apollo’s Fire / Jeannette Sorrell

released by Avie Records October 2015


“It is no mean feat to produce a Handel opera aria recital containing two of Cleopatra’s most popular showpieces (‘Piangerò la sorte mia’ and ‘Da tempeste’) and also Morgana’s flashy ‘Tornami a vagheggiar’ without things running on autopilot, but Amanda Forsythe’s intelligent and characterful singing means there’s no risk of these being merely yet another slog through audition warhorses...”


 - David Vickers, Gramophone, Nov. 2015


 “It is a joy to hear a singer rethinking much of this familiar music without ever distorting it, such that the CD’s 55 minutes of singing (broken up with four expertly played orchestral excerpts from Terpsichore) truly impresses like a first hearing. And you never tire of Forsythe, as you might with other light-and-high-voiced singers. A bauble such as Atalanta’s flirtatious “Un cenno leggiadretto” from Serse has such character that it enchants anew. She has no fear of leaning on her voice but she never forces or makes an ugly sound; drama comes from inflection and diction...a knockout recital by a major American soprano.”


- Robert Levine, Classics Today, Oct.2015


Iris / Semele / Seattle Opera - 2015

" ... As Iris, Amanda Forsythe, possessor of a superb technique, was vocal and visual perfection..."

Mark Mandel / Opera News


" ... Amanda Forsythe, the vocally and physically nimble soprano who sings the role of Iris in all performances, was great to watch as well as to hear..."

 Melinda Bargreen / Seattle Times


“ ... Also outstanding was soprano Amanda Forsythe as the perky, Puck-like Iris...“  

Thomas May / Bachtrack


" ... Soprano Amanda Forsythe was equally delectable as Juno's sidekick, the sassy and funny goddess Iris, maintaining a lovely, rounded sound even at top volume..."

 Maggie Larrick / Queen Anne and Magnolia News


" ...Amanda Forsythe sparkled in the role of Iris, singing impeccably and with carefree abandon. She complimented it all with excellent comic timing, shoes that lit up, and gloves that threw beams of green laser light all over the place..."  

James Bash / Facts and Arts

"...Filling out this excellent All-American cast was soprano Amanda Forsythe as Iris, whose comic bits matched her flawless singing and generally gleeful appearance."

Rod Parke/Seattle Gay News

"...Soprano Amanda Forsythe was equally delectable as Juno's sidekick, the sassy and funny goddess Iris, maintaining a lovely, rounded sound even at top volume."

Maggie Larrick/Magnolia News

"...Also outstanding was soprano Amanda Forsythe as the perky, Puck-like Iris."

Thomas May/BachTrack

"...Ha divertito ed impressionato il pubblico Amanda Forsythe, giovane Iris al servizio di Juno, per la deliziosa comicità e per la precisione dell'esecuzione vocale, in cui ha mostrato la sua grande perizia nella prassi esecutiva del repertorio barocco."

Viviana Coppo/OperaClick


 Manto / Niobe  / Boston Early Music Festival (Erato)


"...Amanda Forsythe's Manto, with sunshine in her tone, has bright and forward Italian diction, paired with the equally touching and pure Colin Balzer as Tiberino."

William R. Braun/Opera News


"...Manto is sung enchantingly by Amanda Forsythe."


David Vickers/Gramophone


"...Here singing the rôle of Manto, the radiant soprano Amanda Forsythe sang the title rôle in the 2011 BEMF staging of Niobe. She is a singer for whom Seventeenth- and Eighteenth-Century repertory is completely natural territory, and her polished-silver voice possesses reserves of power that enable her to sustain fastidiously-nuanced characterizations throughout the course of a performance of a score as demanding as Steffani's. Her technique enables her to toss off the Act One aria 'Se la vita à me donasti' with aplomb, followed by an account of the aria 'Vuoi ch'io parli, parlerò' that is notable for its singularity of dramatic purpose. The simplicity of her enunciation in 'Nel mio seno à poco à poco' transforms her portrayal from one of a delicate, naïve girl into a study of a sensitive but strong-willed young woman. In Act Two, she shapes her accounts of the arias 'Tu ci pensasti poco' and 'Hò troppo parlato' with unfettered ingenuity, her upper register pealing with the freshness of youth. Like several of her colleagues in this performance, Ms. Forsythe is at her best in Act Three, in which she sings 'Chiudetevi miei lumi' lusciously."

Joseph Newsome/Voix des Arts


"...The young lovers, Tiberino and Manto, actually have some fascinating, sensual music to perform. Both roles are strongly cast: tenor Colin Blazer and soprano Amanda Forsythe sing with bright, forward tone and convince us of their love, using vibrato wisely and to express their passion, which takes a couple of acts to be acknowledged."

Robert Levine/Classics Today


"...The opera is beautifully presented, with the subtle colours of the period-instrument orchestra offsetting the fine singing of a number of Baroque specialists, among whom Karina Gauvin's dramatic Niobe, Philippe Jaroussky's faultless Anfione and Amanda Forsythe's delightful Manto lead the vocal pack."

George Hall/Sinfini Music


"...Soprano Amanda Forsythe, who was a winning Niobe in 2011, here sings the young lover Manto with the same degree of textual nuance."


Steve Smith/The Boston Globe


Recital with David Hansen / Boston Early Music Festival / April 2015


"...The Monteverdi excerpts weren't just sung, they were acted. Poppea is no innocent; Forsythe was by turns conniving, cajoling, coy, flirtatious, and smoldering. One moment Hansen was caressing her bare shoulder; the next he was hysterically ordering Seneca to commit suicide. This was opera as theater; words and feelings took precedence over vocal fireworks. The finale from "Poppea," the duet "Pur ti miro," was tender and ennobling."


Jeffrey Gantz/The Boston Globe


'The Power of Love': Passions of Handel and Vivaldi’/ Apollo’s Fire – Spring 2014


“ . . . Illuminated by soprano Amanda Forsythe, last week’s Apollo’s Fire program was truly not to be topped...


Three arias from Handel’s “Giulio Cesare” and “Ariodante” gave Forsythe room to depict a range of amorous emotions from pure, proud love to vengeful rage. All of them the soprano brought to life in vivid fashion, hooking listeners not just on her sound but also on the sentiments of the texts.


But the real joy was all the colourful vocal plumage Forsythe displayed: lustrous sighs and perky leaps accomplished with ultimate precision. These were the magic in Forsythe’s spells, and each one only served to deepen the enchantment.


No less bewitching were two arias by Rameau, from the operas “Anacreon” and “Les Indes Galantes.” If anything, singing in smooth, fluid French, Forsythe was more freely dramatic, fleshing out similarly virtuoso performances with meaningful accents and knowing looks...”


Zachary Lewis / The Plain Dealer


“ . . . The featured soloist was the brilliant young soprano Amanda Forsythe.

...The set on Friday’s concert began with “Viens Hymen,” from Rameau’s Les Indes Galantes. The aria “Viens Hymen” was delicate, with flute, high strings and Baroque guitar accompaniment. Amanda Forsythe had total command of the legato musical line and stylish ornamentation.


Much more virtuosic was Rameau’s “L’Amour est le dieux de la paix,” Cupid’s aria from Anacreon, which gave Forsythe much more of a showpiece, with brilliant coloratura and daring leaps from the top of the soprano register to low notes, and repeated high notes worthy of the Queen of the Night in Mozart’sThe Magic Flute...


The first half of the program ended with “Il primo ardo,” from Handel’s Ariodante ... Here, Handel’s style is much more overtly coloratura, but was again dispatched with ease by Ms. Forsythe, whose passagework was clean, pitch flawless, and diction clear.


Amanda Forsythe returned for two arias from Handel’s Giulio Cesare. “Piangerò la sorte mia,” opened with the preceding recitative “E pur così in giorno perdo fasti e grandezze?” in which Cleopatra laments the loss of her kingdom and, she thinks, her beloved Caesar... But Caesar is not dead and makes his way to Cleopatra, prompting the aria “Da tempeste il legno infranto,” one of the showpieces of Giulio Cesare. Amanda Forsythe made this coloratura masterpiece her own, with not a hint of smudge in her passagework, and including even more elaborate ornamentation in the da capo. She gave an outstanding performance of the aria. . .”


Timothy Robson /


Jemmy / Guillaume Tell / Rossini Opera Festival, Pesaro - August 2013


. . . Armanda Forsythe’s clear, French-sounding soprano was always a joy in Jemmy’s music. . .”

 Carlos Maria Solare / Opera


“ . . . Armanda 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 /


“ . . . 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


“ . . . Sohn Jemmy (sehr berührend: Amanda Forsythe) . . .”


 Derek Weber /


“ . . . 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


“ . . . Amanda Forsythe, oltre all’impegnativo finale primo con i vari salti di tonalità, ha dovuto cantare l’aria “Vois sa douleur, songe à mon âge”, di alta tessitura e fitta di colorature, e ne è venuta a capo bene. . .”


Domenico Ciccone / OperaClick

Boston Early Music Festival – Thanksgiving Concert 2013

“ . . . Amanda Forsythe was in excellent voice, her soprano sounding supple and gleaming in an assortment of roles that included La Musica in the Monteverdi, Belinda in the Purcell, and Venus in the Blow. . .”


Jeremy Eichler / The Boston Globe

Edilia / Almira / Boston Early Music Festival – June 2013

 “ . . . 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. . .”


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 soprano Amanda Forsythe  especially ... was simply dazzling in her fioritura and her altitudinous rages. . .”


The New York Times



Nannetta / Falstaff / The Royal Opera, Covent Garden


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


George Hall / The Stage


“. . .  the young lovers Fenton and Nannetta (Joel Prieto and Amanda Forsythe, both excellent) . . .”


Martin Kettle / The Guardian


“ . . . Amanda Forsythe’s Nannetta spins sweetness on top. . .”


 Edward Seckerson / The Independent


“ . . . I must reserve special mention for Amanda Forsythe’s Nanetta: her repeated refrains with her Fenton are meltingly beautiful. . . “


Anthony Craig / Gramophone Magazine


“ . . . 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

 Barbarina /Le nozze di Figaro / The Royal Opera, Covent Garden


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

 The Daily Telegraph / Rupert Christiansen


“. . . Barbarina’s little aria plangently sung by Amanda Forsythe. . .”


 The Times / Hilary Finch


“ . . .A Barbarina of great charm from Amanda Forsythe . . .”


 Peter Reed / Opera Magazine


“. . .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. . . “


“ . . .Amanda Forsythe's assured Barbarina almost stole the show. . .”




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


 Musical Criticism. Com / Dominic McHugh


Dalinda / Ariodante / Grand Theatre de Geneve


 " . . . 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

Les Indes Gallantes / Boston Baroque


 “ . . .Nathalie Paulin, warm and agile, and fellow soprano Amanda Forsythe — droll and showing spectacular clarity and tonal beauty — proved the vocal standouts. . .”

 David Shengold / Gay City News


Haydn's Creation / Boston Baroque


 “ . . . springwater-clear soprano Amanda Forsythe, who aces her ravishing arias and scatters delightful trills—make this well-recorded set a delight . . . “

 David Shengold / Time Out New York


Title Role / Niobe, Regina di Tebe / Boston Early Music Festival


 “ . . . Amanda Forsythe used her shapely soprano to superb effect in a characterization of Niobe that was as flexible as Mr. Jaroussky’s Anfione. Here is a thoroughly unlikable character, opportunistic, mean spirited, vindictive and self-absorbed . . . the music Steffani gives her is so plangent, and Ms. Forsythe sings it so supplely, that you cannot help feeling at least a little sympathy for her in her final scene. . .”


Allan Kozninn / The New York Times


Mozart and Haydn Arias with Apollo’s Fire Director, Jeanette Sorrell


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


Anna Picard / The Independent


“. . .  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.


The two programmed arias came from Mozart's "Idomeneo" ("Zeffiretti lusinghieri") and "Lucio Silla" ("Parto, m'affretto") . . . 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.


 . . .Forsythe was brought back (for) an encore: "Deh, vieni, non tardar" from "The Marriage of Figaro," in which she one day will be an enchanting Susanna.”


 Donald Rosenberg / Plain Dealer Music Critic,


" . . . the Recitative and Aria from Mozart’s early opera Lucio Silla, beautifully sung by Amanda Forsythe . . ."


Graham Rickson / The Arts Desk - Classical Music CDs Round-up 12

 Amenaide / Tancredi / Opera Boston


“ . . .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


 “ . . . (Ewa Podles) could not have had a better partner than her Opera Boston co-star, Amanda Forsythe. As Amenaide, Tancredi's beloved, Forsythe displays a silvery light soprano that contrasts beautifully with (her) 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


“ . . .Very much in her vocal prime, local favourite 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, particularly the Act 1 prison scene were gorgeous. And the florid passages were done to perfection. This is a major talent . . .”

The Edge


“ . . . 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 Bostonist


“ . . . 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


“ . . .  Amanda Forsythe sang Amenaide with a great sense of style and a glowing, silvery soprano. Her precision and flexibility in runs and ornaments were impeccable. . .”

  Berkshire Review


“ . . . 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


Iris / Semele / Opera Boston


“…The most sparkling moments came from the bright, lively soprano of Amanda Forsythe, in the small role of Iris, Juno's servant . ..”

The Wall Street Journal

Minerva, Grand Priestess / Thésée / Boston Early Music Festival


“… as both Minerva and her Grand Priestess (a sensible conflation of interests), Amanda Forsythe is among the most effective singers in the lot. She offers a brightly forward, almost heroic tone, vocal dexterity of a fine order, and the strongest response among the cast to the text. . .”


Fanfare Magazine

 The Angel / Angels in America / Opera Unlimited: Boston Modern Orchestra Project & Opera Boston


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

 The Boston Globe

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

Boston Herald

“ . . . Amanda Forsythe’s Angel was powerfully sung.. . ”

 New York Times

" . . .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 gorgeously as the Angel . . ."

Musical America




Rosalia/L'Equivoco Stravagante

Production from the Rossini Festival, Pesaro

Emilio Sagi Director






The Creation

Martin Pearlman/Boston Baroque

[Hybrid SACD - DSD]



Venus/Venus and Adonis

Paul O’Dette & Stephen Stubbs (Conductors)/ Boston Early Music Festival





Jeannette Sorrell/Apollo’s Fire




Giunia's aria from Lucio Silla: In un istante...Parto, m'affretto

Jeannette Sorrell/Apollo’s Fire





Paul O’Dette & Stephen Stubbs (Conductors)/ Boston Early Music Festival





Paul O’Dette & Stephen Stubbs (Conductors)/ Boston Early Music Festival




Minerva and her Grand Priestess/Thésée

Paul O’Dette & Stephen Stubbs (Conductors)/ Boston Early Music Festival




New Dawn: Song Cycles of Carson Cooman

Conducted by the Composer