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Georg Philipp Telemann: Ino; Opera Arias for Soprano"Amanda Forsythe and the orchestra of the Boston Early Music Festival conjure exceptional stylish elegance and theatrical vitality...Forsythe’s rapturous ornamentation [is] nothing short of marvellous." David Vickers/ Gramophone |
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Apollo's Fire: Le Tre Soprano The Three Ladies of Ferrara
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Pergolesi: La serva padrona & Livietta e Tracollo"All the singers have fine, youthful-sounding voices and enter gleefully into the spirit of their roles. As the upwardly mobile maid Serpina (the servant-as-mistress of the title), Amanda Forsythe combines lyric sweetness with comic panache. Her taunting ‘Stizzoso, mio stizzoso’ immediately announces that this is not a woman to be messed with. Forsythe’s witty command of timing and inflection is shared by Christian Immler’s spluttering, exasperated Uberto." Richard Wigmore/ Gramophone |
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Heavenly Bach"This concise programme of Bach’s most famous soprano cantatas reveals Amanda Forsythe to be a highly accomplished Bach singer. The outer movements of Jauchzet Gott are state‑of-the-art in their fearlessly agile coloratura…Forsythe is also admirably committed to a clarity and direction of line that gives the Wedding Cantata Weichet nur a sense of touching intimacy recalling the high watermarks of Maria Stader and Elly Ameling." Jonathan Freeman-Atwood/ Gramophone |
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Desmarest’s Circé (Éolie) |
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Mozart: La Betulia Liberata"Forsythe’s flexuous “Ma qual virtù non cede” becomes a most seductive plea for surrender. Doubling in Act II as an almost identical character with the confusingly similar name Carmi, she makes the rollercoaster “Quei moti che senti per l’orrida notte” the work’s showstopper." Clive Paget/ Opera News |
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Handel: Almira"Amanda Forsythe is superb as the volatile Princess Edilia, her flexible soprano capable of the most stratospheric fireworks." Clive Paget/ Opera News |
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Beethoven: Fidelio"Amanda Forsythe’s Marzelline is full of anxiety—she seems terrified of the world she lives in and especially of tenor Robin Tritschler’s menacing Jaquino. Marzelline seems to latch onto Fidelio/Leonore not because she’s fickle but because she’s desperate for an escape. Forsythe’s performance is touching and almost heartbreaking, with a light but secure soprano that underscores the character’s inner instability." Steven Jude Tietjen/ Opera News |
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Graun: Torna Vincitor"The vocals fall trippingly from the agile throat of gifted soprano Amanda Forsythe…Forsythe's intonation, commanding breath control and skill at decoration and trills augment her very attractive flowing timbre… the execution of her challenging music, up to high B natural, proves exemplary." David Shengold/Opera News |
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Gluck: Orfeo ed Euridice"Amanda Forsythe lives up to high expectations as a Euridice both fiery and vulnerable. She and Jaroussky spar vividly as he leads her out of the Underworld; and she is unfazed by the high tessitura and spitfire arpeggios of her subsitute aria." Gramophone/Richard Wigmore |
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Agostino Steffani:Duets of Love and PassionWinner of the Diapason d'Or, January 2018 "Quanto care" "Su ferisci" "Tengo per infallibile" |
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Bach:St. John Passion"Amanda Forsythe is technically sure and vocally charming in both of her arias" Gramophone/David Vickers "Ich folge dir gleichfalls" "Zerfliesse, mein Herze" |
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Handel:The Power of Love"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 truly impresses like a first hearing...I could go on but find no need to; I hope you get my point. This is a knockout recital by a major American soprano." Classics Today/Robert Levine "Dunque i lacci....Ah crudel" "Un cenno leggiadretto" "Geloso tormento" "Da Tempeste" |
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Rossini:Guillaume Tell (Jemmy)"Amanda Forsythe's Jemmy — the boy's restored aria decorated with bravura — affords the best singing of this crucial part I've ever encountered." Opera News/David Shengold |
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Steffani:Niobe(Manto) |
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Handel:Teseo"McGegan's pacing, his orchestra's subtle playings and Amanda Forsythe's singing ensure that Teseo's 'Chi ritorna alla mia mente' is breathtakingly gorgeous" Gramophone "Quanto Ch'a Me Sian Cara" "S'Armi il Fato" "Chi Ritorna Alla Mia Mente" |
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Charpentier:La Descente d'Orphee aux enfers
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"La Couronne de Fleurs: Air de Rosélie"
"La Descente d'Orphée aux Enfers: Air D'Euridice"
"La Descente d'Orphée aux Enfers: Récit D'Euridice"
Agostino Steffani: Niobe, Regina di Tebe
"Manto is sung enchantingly by Amanda Forsythe" Gramophone/David Vickers
Niobe, regina di Tebe, Act 1: "Se la vita à me donasti" (Manto)
Niobe, regina di Tebe, Act 1: "Nel mio seno à poco à poco" (Manto)
Handel:Orlando
"Amanda Forsythe's agile singing in Dorinda's 'O care parolette' is so nonchalantly frothy; her plaintively beautiful arioso 'Quando spieghi i tuoi tormenti' and siciliana 'Se mi rivolgo al prato' are alone worth buying this for." Gramophone
"Ho un certo rossore"
"Quando spieghi i tuoi tormenti"
"Amore è qual vento"
"O care parolette"
"Se mi rivolgo al prato"
Haydn: Die Schöpfung
"and springwater-clear soprano Amanda Forsythe, who aces her ravishing arias and scatters delightful trills—make this well-recorded set a delight" Time Out
"Nun beut die Flur"
"Auf starken Fittiche schwinget sich"
"Holde Gattin, dir zur Seite"
Blow: Venus and Adonis
"Amanda Forsythe's languid singing is apt for the eroticism of Venus." Gramophone
"Hunter's Music"
"Welcome Ev'ry Guest"
Handel: Messiah
"Rejoice Greatly"
"Come Unto Him"
"I Know That My Redeemer Liveth"
Mozart: Lucio Silla: In un istante...Parto, m'affretto
"Parto, m'affretto" showcases coloratura soprano Amanda Forsythe – a voice to remember." The Independent (UK)
"Parto, m'affretto"
Charpentier: Actéon
"Air d'Aréthuse"
Jean-Baptiste Lully: Psyché
"Amanda Forsythe as Aglaure is sympathetic to her sister Psyché, but the same soprano's portrayal of a nymph in Act 2 is even more beautiful." Classics Today
"Psyché"
Lully: Thésée
"As both Minerva and her Grand Priestess...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
"Thésée"
Cooman: New Dawn
" This latest is the most rewarding of the all-Cooman discs I have heard...Soprano Forsythe has a light, flexible voice whose lovely, intimate quality is very well suited to the spirit of Cooman’s vocal writing." Fanfare Magazine
"New Dawn"
Rossini: L'Equivoco Stravagante
"As the sprightly servant Rosalia, soprano Amanda Forsythe [was] just what the doctor ordered." Opera News
Dominick Argento: Jonah and the Whale
"Soprano Amanda Forsythe delivers a lovely and lyrical "Christe eleison" in the stratosphere." Opera News
"Jonah and the Whale"