Amanda Forsythe is recognized internationally as a leading interpreter of baroque and classical repertoire. She sang Eurydice on the 2015 GRAMMY-winning recording of Charpentier’s La descente d'Orphée aux enfers. Alongside her other many recordings for Boston Early Music Festival and Boston Baroque, her début solo album of Handel arias “The Power of Love” with Apollo’s Fire on the Avie label earned widespread critical acclaim.
She performed and recorded Cabri and Carmi in La betulia liberata with Les Talens Lyriques at the Salzburg Mozartwoche, and toured Europe and the USA with the French countertenor Philippe Jaroussky, performing works based on the Orfeo myth and recording the role of Euridice with him in the 1774 version of Gluck’s Orfeo for ERATO.
Her collaborations with leading baroque ensembles have included performances with the Philharmonia Baroque at Tanglewood, Tafelmusik, Handel and Haydn Society, Boston Baroque, Boston Early Music Festival, Vancouver Early Music, Apollo’s Fire, and Pacific Musicworks.
On the opera stage she has sung Semele (Philadelphia), Pamina in Die Zauberflöte (Rome, Seattle and Die Komische Oper, Berlin), Iris in Semele (Seattle), Marzelline in Fidelio, Nannetta in Falstaff, Amour in Orphée, Manto in Steffani’s Niobe (Royal Opera House, Covent Garden), Jemmy in Guillaume Tell, Corinna in Il viaggio a Reims and Rosalia in L’equivoco stravagante (Rossini Opera Festival, Pesaro), and Dalinda in Ariodante (Geneva and Munich).
Amanda is a regular soloist with Chicago Symphony Orchestra and recently made her débuts with New York Philharmonic, The Philadelphia Orchestra, and Lucerne Symphony Orchestra. She has also performed with Boston Symphony, Los Angeles Philharmonic, the Monteverdi Choir and Orchestra, the Accademia Nazionale di Santa Cecilia, Orchestra La Verdi of Milan, and Kymi Sinfonietta.
Conductors she has worked with include Sir John Eliot Gardiner, Nicholas Kraemer, Nicholas McGegan, Andris Nelsons, and Sir Antonio Pappano.
Her recent engagements include Cleopatra in Giulio Cesare in Moscow, Messiah with Charlotte Symphony Orchestra and Les Talens Lyriques, Melissa in Amadigi (staged) and Bach’s Mass in B minor with Boston Baroque, Handel’s Sileti venti with the Orchestra of St Luke’s, arias by Handel, Purcell, and Haydn with Music of the Baroque, her début with the Royal Northern Sinfonia, and performances and recordings with Apollo’s Fire, Boston Early Music Festival, and the Handel and Haydn Society.
Engagements in the 2022/23 season include débuts with the Academy of Ancient Music (Messiah), St Louis Symphony Orchestra (Messiah), and with Hong Kong Philharmonic (St. Matthew Passion). She returns to New York Philharmonic for performances of St. Matthew Passion, and to Chicago Symphony to sing Vivaldi’s Magnificat and Gloria. Other engagements include arias by Mozart and Beethoven with Victoria Symphony, a recording of Telemann’s Ino Cantata and staged performances of Desmarets’ Circé with Boston Early Music Festival, and concerts with Apollo’s Fire.