GRAMMY®-winning 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.

Ms. Forsythe begins the 2026-2027 season with the Academy of Ancient Music, singing Telemann’s Ino with conductor Laurence Cummings. She performs Handel’s Messiah with Le Concert d’Astrée and Emmanuelle Haïm in Los Angeles, and with the University Musical Society (UMS Ann Arbor), Mozart’s Requiem with the Milwaukee Symphony, as well as Bach’s Christmas Oratorio (Los Angeles Chamber Orchestra) and St. Matthew Passion (Orchestre Philharmonique de Radio France). Ms. Forsythe makes two appearances with Boston Baroque during the season: Venus in Blow’s Venus and Adonis, as well as a chamber concert, and tours the Western United States, Canada and Hawaii with Opera Prima. She also continues her long collaboration with Boston Early Music Festival, performing on several programs throughout Boston.

The soprano’s 2025-2026 season featured performances of Handel’s Messiah with the New York Philharmonic (Dame Jane Glover), National Symphony Orchestra (Ton Koopman), and Boston Baroque. She sang Michal in Saul with the Handel & Haydn Society and conductor Jonathan Cohen; a program of Haydn’s Mass in the Time of War and Vaughn Williams’ Dona Nobis Pacem with the Colorado Symphony; Mozart’s Mass in C Minor with the North Carolina Symphony; Bach and Handel in a return to the Los Angeles Chamber Orchestra, and Ilia in Idomeneo with Washington Concert Opera. The season also included ‘Hearing Her Voice’, a celebration of female perspective and talent, with Tafelmusik, and a program of Handel arias with Early Music Vancouver.

Ms. Forsythe’s 2024-2025 began with a return to the Chicago Symphony Orchestra for Mozart’s Coronation Mass, under the baton of Nicholas Kraemer. The winter brought performances of Handel’s Messiah with the San Francisco Symphony (Stephen Stubbs) and the Royal Northern Sinfonia (Dinis Sousa), followed by Canada’s The Victoria Symphony for Haydn’s The Creation. Other season highlights included Ms. Forsythe’s return to Orchestra of Saint Luke’s for a special 50th Anniversary Concert; Boston Baroque to perform Ginevra in Ariodante; an appearance at the Tucson Baroque Festival, and two engagements with Boston Early Music Festival: a European tour of works by Carissimi, and a staged production of Keiser’s Octavia.

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. She won the 2026 Best Classical Solo Vocal Album GRAMMY® for Telemann: Ino - Opera Arias for Soprano with Boston Early Music Festival. Her debut solo album of Handel arias "The Power of Love" with Apollo’s Fire was 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.

Recent concert engagements have included performances with the New York Philharmonic (Israel in Egypt with Jeannette Sorel, Mozart’s Requiem), Houston Symphony (Handel’s Messiah), Los Angeles Chamber Orchestra (Pergolesi Stabat Mater), and NDR Radiophilharmonie (Handel’s Deborah). She has performed with the Boston Symphony, the Los Angeles Philharmonic, The Philadelphia Orchestra, the Chicago Symphony Orchestra, The Hong Kong 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.