Amanda Forsythe

Performance Year: 2025

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

She made her European operatic début in the role of Corinna Il viaggio a Reims at the Rossini Opera Festival in Pesaro, subsequently returning to perform Rosalia L’equivoco stravagante, and Jemmy Guillaume Tell, which were both released on DVD. At the Royal Opera House in Covent Garden, she has performed Nannetta Falstaff, Manto Niobe, Amour Orphée, and most recently, Marzelline Fidelio. Other European engagements include Pamina 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.

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

In the coming seasons, she returns to The New York Philharmonic (Handel’s Israel in Egypt and Mozart’s Requiem), the Chicago Symphony (Handel duets program), Tafelmusik (a Handel Celebration), Boston Baroque (Messiah and Handel’s Silete Venti), Pacific Musicworks (La Serva Padrona), and an American tour with Opera Prima (Tormento Seicento). She will make her début with the Houston Symphony (Messiah), the Los Angeles Chamber Orchestra (Pergolesi’s Stabat Mater), and the NDR Radiophilharmonie (Handel’s Deborah).

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