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Praised by the San Francisco Chronicle for a voice that is "bright, beautifully colored, and full of strength and passion," soprano Amanda Woodbury has established herself as one of the most compelling lyric sopranos of her generation — an artist whose combination of crystalline tone, unerring musicianship, and natural dramatic instinct has carried her to the stages of the Metropolitan Opera, Los Angeles Opera, Glyndebourne, and opera houses around the globe, with Violetta in La traviata as the signature role at the heart of her career.

The 2026–27 season finds Ms. Woodbury bringing that signature role to the Florentine Opera in Milwaukee, where she sings Violetta in Verdi's La traviata at Uihlein Hall in Marcus Performing Arts Center — conducted by Kensho Watanabe, directed by Katherine M. Carter, and performed with the Milwaukee Symphony Orchestra. She also returns to the Metropolitan Opera, where she covers the title role in Donizetti's Maria Stuarda — revived for the first time since 2016 in David McVicar's celebrated production, conducted by Enrique Mazzola.

The 2025–26 season saw Ms. Woodbury return to the Metropolitan Opera to sing her signature Violetta in La traviata, conducted by Antonello Manacorda, as well as to cover the role of Elvira in a new production of I Puritani. She also returned to Washington Concert Opera in the role of Elettra in a concert performance of Idomeneo. The previous season brought her role debut as the title character in Luisa Miller with Washington Concert Opera — a performance prepared in under a week and met with considerable critical acclaim — and a return to Palm Beach Opera as Violetta in La traviata under the baton of Music Director David Stern. She also made her house debut at Irish National Opera in Olivia Fuchs' production of La traviata at the historic Gaiety Theatre in Dublin, and joined the Indianapolis Symphony as soprano soloist in both Mahler's Symphony No. 4 and Mozart's Exsultate, jubilate.

A long and distinguished relationship with the Metropolitan Opera has placed Ms. Woodbury at the heart of the company's lyric soprano repertoire across many seasons. Her appearances there have encompassed the Countess in Le nozze di Figaro, her role debut as Juliette in the new Bartlett Sher production of Roméo et Juliette, Leïla in Les Pêcheurs de perles conducted by Emanuel Villaume, Adina in Bartlett Sher's production of L'elisir d'amore, Woglinde in Robert Lepage's productions of Das Rheingold and Götterdämmerung conducted by Philippe Jordan, and Tebaldo in Don Carlo. She has also appeared on the company's Rising Stars concert series and covered the title role of Manon, Norina in Don Pasquale, and Antonia in Les Contes d'Hoffmann. Her debut at the Glyndebourne Festival came as the Countess in the Michael Grandage production of Le nozze di Figaro, and at Opéra national de Lorraine she made her house debut as Elettra in Lorenzo Ponte's production of Idomeneo conducted by Jakob Lehmann. A longstanding relationship with Los Angeles Opera has encompassed her role debut in the title role of Lucia di Lammermoor — of which the Los Angeles Times wrote that "all flows from her without effort" — as well as Micaëla in Carmen, Musetta in La bohème, and Papagena in Die Zauberflöte.

Beyond these institutional homes, Ms. Woodbury's operatic career has taken her across the United States and internationally in a wide range of repertoire. She has brought Violetta to the Glimmerglass Festival and San Antonio Opera, sung the title role in Bellini's La straniera with Washington Concert Opera, made her role debut as Marguerite in Faust with Tulsa Opera, appeared in the title role of Donizetti's Pia de' Tolomei with the Spoleto Festival USA, and performed Konstanze in Die Entführung aus dem Serail with Des Moines Metro Opera, Madison Opera, Opera Omaha, and Dayton Opera. Pamina in Die Zauberflöte and Donna Anna in Don Giovanni have also featured prominently in her career, the latter memorably with the Merola Opera Program in San Francisco. Ms. Woodbury was engaged to make her debut at the Glyndebourne Festival as Konstanze and at Opera Hong Kong as Ophelia in Ambroise Thomas's Hamlet, both of which were cancelled due to the COVID-19 pandemic.

On the concert stage, Ms. Woodbury has appeared with the Los Angeles Philharmonic conducted by Gustavo Dudamel as soprano soloist in Beethoven's Choral Fantasy, with the Mormon Tabernacle Choir in Handel's Messiah, and with the Cincinnati May Festival under James Conlon in Mahler's Symphony No. 8 and Haydn's Creation. She has sung Fauré's Requiem with the Alabama Symphony Orchestra, the soprano solo in Carmina Burana at the Aspen Music Festival, and made her international orchestral debut singing Ophelia's mad scene from Thomas's Hamlet with the Tokyo Metropolitan Symphony Orchestra. Additional concert appearances include the American Symphony Orchestra in a program of Bach arias marking her Alice Tully Hall debut, and Mozart's Mass in C with the New Choral Society.

Ms. Woodbury was honored as a Grand Final Winner of the Metropolitan Opera National Council Auditions in 2014 and received Second Place and Audience Choice awards at Plácido Domingo's Operalia competition the same year. She also holds a Sarah Tucker Study Grant and a Richard Tucker Career Grant, and was awarded Second Place and Audience Choice in both the Eleanor McCollum Competition at Houston Grand Opera and the Dallas Opera competition. She holds a Master of Music degree in Vocal Performance from the University of Cincinnati College-Conservatory of Music, a Bachelor of Music degree from Indiana University, and completed her professional training as a member of Los Angeles Opera's Domingo-Colburn-Stein Young Artist Program.

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