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| Amanda Forsythe, soprano | |
b i o g r a p h y...........back to roster....up March 2008 Amanda Forsythe has been praised by Opera News for her "light and luster", "wonderful agility and silvery top notes". She has been a winner of the George London Foundation Awards, and was recently sponsored by them in her New York recital debut. She has also received prizes from the Liederkranz Foundation and the Walter W. Naumburg Foundation. In August 2007, Ms. Forsythe made her European debut, singing Corinna in “Il Viaggio a Reims” at the Rossini Festival in Pesaro. According to The Stage (UK), “Amanda Forsythe, the outstanding Corinna, [was] technically in command of the role - 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.” In November 2007, she made her debut at the Grand Théâtre de Genève as Dalinda in Handel’s “Ariodante”, performing alongside Joyce DiDonato and Patricia Petibon. Kenneth Montgomery conducts the new production, directed by Pierre Strosser. Ms. Forsythe can be heard as Minerve and La Grande Prestresse on The Boston Early Music Festival’s premiere recording of Lully’s “Thésée” on the German CPO label. She made her onstage debut with the company as Aglaure in their June 2007 production of Lully’s “Psyché”, and will be featured on the premiere recording of that work. As part of the festival, she also sang the Pergolesi “Marian Vespers” and the role of Pallas in Eccles’ “The Judgement of Paris”. Ms. Forsythe recently débuted with Opera Unlimited as The Angel in the North American premiere of Peter Eötvös’ opera, “Angels in America”, a performance that the critics hailed as “powerfully sung” (The New York Times), “Amanda Forsythe’s voice soared tirelessly aloft” (The Boston Globe), “Amanda Forsythe sang gorgeously as the Angel” (Musical America). Ms. Forsythe created the role of Young Margarita in Osvaldo Golijov's “Ainadamar”, and was praised for her “raw passion” (The LA Times), “sparkling clarity” (The Financial Times), and “crystalline, finely expressive voice” (The New Yorker). She also covered Dawn Upshaw as Margarita, and sang one performance in that role. She later reprised the role of Young Margarita with The Los Angeles Philharmonic at Walt Disney Hall. With Boston Baroque, under the direction of Martin Pearlman, Ms. Forsythe has appeared in Mozart’s “Bastien und Bastienne”, Handel’s “Alcina”, Pergolesi’s “La Serva Padrona”, Bach’s “Coffee Cantata”, Purcell’s “The Fairy Queen”, and Vivaldi’s “Juditha triumphans”. She has sung the title role in Viardot’s “Cendrillon” at the Caramoor Festival, and has performed in recital at the prestigious Tanglewood and Ravinia Festivals. She has performed Mozart’s “Mass in C Minor” with The Handel and Haydn Society, The Masterworks Chorale, The Pioneer Valley Symphony, and The Akron Symphony, and Orff’s “Carmina Burana” with The Rhode Island Philharmonic and The Omaha Symphony. In 2006, she sang Handel’s “Messiah” with The Charlotte Symphony and Apollo’s Fire: The Cleveland Baroque Orchestra. Upcoming projects include appearances with Opera Boston, The Hartford Symphony, The Louisiana Philharmonic, Apollo’s Fire, The Charlotte Symphony, Boston Baroque, The Boston Chamber Music Society, as well as recording projects with Trinity Choir Wall Street, “Il Furioso”, and the composers Ken Sullivan and Tod Machover. b i o.....rr e v i e w s back to roster...up . . . . |
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. r e v i e w s...........back to roster....up Handel’s “Ariodante” Financial Times: "Amanda Forsythe (Dalinda) is the discovery of the evening: songbird voice, impeccable tuning and, like so many Americans, totally at home on stage." Le Figaro: "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 Temps: "Amanda Forsythe fait preuve d'une belle souplesse." Forum Opera: 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. Tribune de Geneve: "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." La Libre Belgique: "Deux jeunes chanteuses, Amanda Forsythe, soprano (Dalinda) et Varduhi Abrahamyan, alto (Polinesso), font une première apparition remarquée dans la maison." Anaclasse.com: "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." Resmusica.com: “Amanda Forsythe (Dalinda) respire la fraîcheur, et c’est un régal de l’entendre vocaliser sans apparente difficulté.” Concerto.net: "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." OperaClick: "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." Lully’s “Thésée” (Nominee for the 50th Annual Grammy™ Awards) Fanfare Magazine: “Finally, as both Minerva and her Grand Priestess (asensible 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 amongthe cast to the text.” San Francisco Chronicle: "A passage near the end of Act 1 demonstrates...a fluid exchange between the High Priestess of Minerva (arresting soprano Amanda Forsythe) and a quietly sumptuous Chorus of Priestesses." Rossini's "Il Viaggio a Reims" The Stage (UK):"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." Forum Opéra (France): "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..." L'opera (Italy): "...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." Vivaldi's "Juditha Triumphans" The Boston Globe: "...but the singer who inhabited her character most completely was Amanda Forsythe as Vagaus, the general's servant. Her singing was self-possessed, her tone light and pure, and her coloratura was not only nimble but well-integrated into the expressive arc of the particular aria rather than serving as merely decorative filigree. When she swore revenge through the lightning runs of "Armatae face," you really believed her." Handel's "Messiah" The Cleveland Plain-Dealer: "The vocal soloists performed their arias and duets directly to the audience, as if they were visionary storytellers. Amanda Forsythe’s shining soprano graced or flew across every phrase." Peter Eötvös’ "Angels in America" The New York Times: “This is not easy music. Principals sang with confidence...Amanda Forsythe’s Angel was powerfully sung.” The Boston Globe: “Amanda Forsythe’s voice soared tirelessly aloft as the Angel.” The Boston Herald: “Amanda Forsythe lends heavenly voice to the Angel.” EDGE Boston: “Amanda Forsythe provides the opera’s most memorable music as the Angel, and she sings it gorgeously.” Opera News: “the Angel [was] sung with edgy brilliance by Amanda Forsythe.” The Financial Times (UK): “Amanda Forsythe sang radiantly as the Angel.” InNewsWeekly: “the Angel [was] sung in an appropriately glorious soprano by Amanda Forsythe.” Musical America: “Amanda Forsythe sang gorgeously as the Angel.” San Francisco CV: “Amanda Forsythe, with a brilliant coloratura, [was] the third leading singer as the young Margarita” Musical America: “as the young Xirgu, Amanda Forsythe complemented Upshaw beautifully.” The Financial Times: “Amanda Forsythe sang with sparkling clarity as [Dawn Upshaw’s] younger incarnation.” The New Yorker: “Amanda Forsythe showed [a] crystalline, finely expressive voice [as] Young Margarita.” The Boston Globe: “wonderful performance…by sweet-voiced soprano Amanda Forsythe as Young Margarita.” The Boston Herald: “Soprano Amanda Forsythe completed the trio of principals with a charming performance as the Young Margarita.” The New York Times: “soprano Amanda Forsythe as the young Margarita [was] also impressive.”
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