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 in 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 in Ariodante for which she was proclaimed “the discovery of the evening” (Financial Times). She returned to the Rossini Opera Festival to perform the role of Rosalia in 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 in Ariodante and as Barbarina in Le nozze di Figaro at the Royal Opera House, Covent Garden and the Théâtre des Champs-Élysées 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 in 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 in Acis and Galatea, Aglaure in Lully’s Psyché, Venus in Venus and Adonis (John Blow), Drusilla in 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 in Semele, Poppea in Agrippina, the title role in Partenope, Amenaide in Rossini’s Tancredi, Bastienne in Bastien und Bastienne, Serpina in La serva padrona, Ninfa/Proserpina in Orfeo (Monteverdi), Amore in Il ritorno d’Ulisse in patria, Oberto in Alcina, Dafne in Apollo e Dafne, Atalanta in 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 in Orlando and Handel’s Il trionfo del tempo with Early Music Vancouver, Dafne in 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 Vivaldi’s 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’s Pastorale per la natività and arias from Messiah with the Brabant Philharmonic Orchestra in The Netherlands, and Mahler’s Second Symphony with L’Orquesta Sinfónica 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 in Semele which resulted in an immediate invitation to return to sing Pamina in Die Zauberflöte in 2017. She also recently sang Poppea in L’incoronazione di Poppea for Boston Early Music Festival, and Poppea in 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 in Le Carnaval de Venise (Campra) and a Pergolesi double bill with Boston Early Music Festival.
On the concert platform, Amanda Forsythe recently made 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’s Magnificat under Sir Antonio Pappano. Other concert engagements this season include a tour of Mozart’s 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’s Cantata No. 51 and Vivaldi’s Gloria with Seattle Symphony, Handel and Vivaldi concert arias, and performances and a recording of Bach’s St. John Passion with Apollo’s Fire. She makes her début with Chicago Symphony Orchestra in December 2016 in performances of Handel’s Silete venti and Laudate pueri under Nicholas Kraemer. Other forthcoming engagements include Bach’s Mass in B Minor and Magnificat at the Oregon Bach Festival under Matthew Halls, singing Eurydice in Gluck’s Orfeo on a European tour with Philippe Jaroussky and Iole in 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 in Venus and Adonis, Aglaure in Lully’s Psyché, and La Grande Pretresse in Lully’s Thésée with Boston Early Music Festival (all for CPO), 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 (selections) and Messiah with Apollo’s Fire (Avie), Dorinda in 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.