Amanda Forsythe’s collaborations with leading baroque ensembles have included Teseo (title role) with Philharmonia Baroque at the Tanglewood Festival, Alexander’s Feast with Tafelmusik, Iole in Hercules with the Handel and Haydn Society, Partenope (title role) and Poppea in Agrippina with Boston Baroque, Isabelle in Le Carnaval de Venise, Serpina in La serva padrona, Edilia in Almira, and the title roles in L’incoronazione di Poppea, Venus and Adonis, and Niobe for the Boston Early Music Festival. Many of these performances have been recorded commercially. She is also a regular soloist with Vancouver Early Music, Apollo’s Fire and Pacific Musicworks.
Her major opera house engagements have included Pamina in Die Zauberflöte at Rome Opera, Pamina and Iris in Semele for Seattle Opera, Nannetta in Falstaff, Amour in Orphée, Manto in Steffani’s Niobe, and Barbarina in Le nozze di Figaro at the Royal Opera House, Covent Garden, Jemmy in Guillaume Tell, Corinna in Il viaggio a Reims, and Rosalia in L’equivoco stravagante for the Rossini Opera Festival, Pesaro and Dalinda in Ariodante at the Grand Theatre in Geneva and the Bavarian State Opera.
Amanda Forsythe has performed with several major symphony orchestras in the USA and Europe including Handel’s Messiah, Sileti venti and Laudate pueri and Schubert’s Mass No. 6 in E Flat with Chicago Symphony Orchestra, Mendelssohn’s A Midsummer Night’s Dream with Boston Symphony Orchestra and Los Angeles Philharmonic, Bach’s Magnificat and concert performances as Marzelline in Fidelio with the Accademia Nazionale di Santa Cecilia.
Following performances as Amour in Gluck’s Orphée at London’s Royal Opera House, she sang both this work and Mozart’s C Minor Mass and Requiem on tour with the Monteverdi Choir and Orchestra under Sir John Eliot Gardiner. She also performed Mozart’s Concert Arias with Kymi Sinfonietta in Finland.
Amanda Forsythe’s engagements in 2019 include her debut at Opera Philadelphia in the title role of Semele, the title role in L’incoronazione di Poppea for Boston Baroque, Angelica in Orlando generoso for Boston Early Music Festival, Cabri and Carmi in La betulia liberata with Les Talens Lyriques at the Salzburg Mozartwoche, at the Festival Mozart Maximum in Boulogne-Billancourt (plus a commercial recording), and a concert tour of the USA with Philippe Jaroussky. She makes her debuts with The Philadelphia Orchestra in Mozart’s Requiem and with Lucerne Symphony Orchestra in Messiah.
Other future engagements include concerts and recordings with the Boston Early Music Festival and Apollo’s Fire, a program of Handel arias and Vivaldi’s Gloria with Chicago Symphony. and her return to the Royal Opera, Covent Garden to sing Marzelline in Fidelio.
