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Amanda Forsythe



American soprano Amanda Forsythe, warmly praised for her performances on both sides of the Atlantic, is a regular soloist with the highly acclaimed baroque ensembles Les Talens Lyriques, the Monteverdi Choir and Orchestra, the Boston Early Music Festival, the Handel and Haydn Society, Boston Baroque, Tafelmusik, Apollo’s Fire, Opera Prima, Pacific Musicworks, Early Music Vancouver, and the Philharmonia Baroque Orchestra.


During the 2023-2024 season, Amanda makes several significant orchestra debuts and returns. The season begins with Ms. Forsythe joining both Apollo’s Fire and the New York Philharmonic in Handel’s Israel in Egypt under the baton of Jeannette Sorrell. The holiday season brings performances of Handel’s Messiah, first in her return to Boston Baroque followed by her orchestral debut with the Houston Symphony. Other season highlights include returning to the New York Philharmonic in the spring for performances of Mozart’s Requiem led by music director Jaap van Zweden; Pergolesi’s Stabat Mater with the Los Angeles Chamber Orchestra; Handel’s Deborah with NDR Radiophilharmonie; Handel’s Silete Venti with Boston Baroque; Pergolesi’s La serva padrona with Pacific Musicworks; and further concerts with the Italian ensemble Opera Prima and the Tafelmusik.


In the 2022-2023 season Ms. Forsythe made debuts with the Hong Kong Philharmonic (St. Matthew Passion), the Victoria Symphony, The St. Louis Symphony (Messiah), the Academy of Ancient Music (Messiah), the Festival Radovljica (Handel’s Roman Cantatas), and the Royal Northern Sinfonia (Mozart’s C Minor Mass).  She returned to the New York Philharmonic (St. Matthew Passion), the Chicago Symphony Orchestra (Vivaldi’s Gloria and Magnificat), Apollo’s Fire, Boston Baroque (Bach’s Mass in B minor), and the Boston Early Music Festival (Circé).


Ms. Forsythe sang Euridice on the recording of Charpentier’s La descente d'Orphée aux enfers with the Boston Early Music Festival which won the GRAMMY AWARD for Best Opera Recording. Her debut solo album of Handel arias "The Power of Love" with Apollo’s Fire was recently followed with the highly praised “Heavenly Bach”. She toured with the French countertenor Philippe Jaroussky, performing works based on the Orfeo myth, and subsequently recorded the role of Euridice in a new edition of Gluck’s Orfeo for the ERATO label. Her discography includes more than 25 albums and DVDs, many of them premiere recordings. Forthcoming discs include Handel’s Roman Cantatas with Opera Prima, Pergolesi’s La serva padrona and a solo Telemann album, both with the Boston Early Music Festival.


Equally at home on the concert platform and on the opera stage, in recent seasons Amanda Forsythe’s major concert engagements have included performances with the Boston Symphony, the Los Angeles Philharmonic, The Philadelphia Orchestra, the Chicago Symphony Orchestra, The Hong Kong Philharmonic, the New York Philharmonic, the Orchestra Sinfonica Accademia Nazionale di Santa Cecilia, the Moscow Philharmonic, the Orchestra of St. Lukes, Orchestra Sinfonica di Milano, The Academy of Ancient Music, The St. Louis Symphony, Music of the Baroque, and the Lucerne Symphony Orchestra.


Amanda Forsythe made her American stage debut with the Boston Early Music Festival, where her many roles have included Poppea in L’incoronazione di Poppea; Eolie in Circé (Desmarets); Angelica in Orlando Generoso (Campra); Isabelle in Le Carnaval de Venise (Campra); Serpina in La serva padrona; and Edilia in Almira, Königin von Castilien, for which she has received rave reviews. With Boston Baroque she has sung Poppea in Agrippina, Melissa in Amadigi, and the title roles in L’incoronazione di Poppea and Partenope. With Seattle Opera, she has sung Pamina in Die Zauberflöte, and with Opera Philadelphia she recently made her role début as Handel’s Semele.


She made her European operatic debut in the role of Corinna in Il viaggio a Reims at the Rossini Opera Festival in Pesaro, subsequently returning to perform Rosalia in L’equivoco stravagante, and Jemmy in Guillaume Tell, which were both released on DVD. At the Royal Opera House in Covent Garden, she has performed Nannetta in Verdi’s Falstaff, Manto in Niobe, Amour in Orphée, and most recently, Marzelline in Fidelio. Other European engagements include Pamina in Die Zauberflöte in Barrie Kosky’s production at the Teatro dell’Opera di Roma and the Komische Oper in Berlin.


She has performed under the baton of Giovanni Antonini, Jonathan Cohen, Laurence Cummings, Sir Colin Davis, Sir John Eliot Gardiner, Daniele Gatti, Matthew Halls, Thomas Hengelbrock, Nicholas Kraemer, Bernard Labadie, Susanna Mälkki, Nicholas McGegan, Christopher Moulds, Riccardo Muti, Andris Nelsons, Sir Antonio Pappano, Martin Pearlman, Christophe Rousset, Jeannette Sorrell, Stephen Stubbs, and Jaap van Zweden.  She has premiered opera productions by Gilbert Blin, Robert Carsen, Tobias Kratzer, and Graham Vick.

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