A native of Crestwood, Kentucky, soprano Amanda Woodbury has been praised by the San Francisco Chronicle as having a voice that is “bright, beautifully colored, and full of strength and passion.” The 2018 – 2019 season sees Ms. Woodbury return to the Metropolitan Opera for a 5th season, with roles including Leïla in Les Pêcheurs de perles, conducted by Emanuel Villaume, and Woglinde in Robert Lepage’s productions of Das Rheingold and Götterdämmerung, conducted by Philippe Jordan. Ms. Woodbury also makes house debuts as Violetta in La traviata with both the Glimmerglass Festival and Opera San Antonio, and as Juliette in Roméo et Juliette with Hawaii Opera Theater.
The 2017 – 2018 season saw Ms. Woodbury return to LA Opera to sing Micaëla in Carmen, conducted by James Conlon, and her role debut as Marguerite in Faust with Tulsa Opera. Additional operatic appearances included the role of Pia in Donizetti’s Pia de’ Tolomei with the Spoleto festival, and a reprise of Konstanze in Die Entführung aus dem Serail with Madison Opera. Concert work included the title role in Bellini’s La straniera with Washington Concert Opera, conducted by Antony Walker, the soprano soloist in Handel’s Messiah with the Mormon Tabernacle Choir, conducted by music director Mack Wilberg, and Fauré’s Requiem with the Alabama Symphony Orchestra.
Career highlights include multiple appearances at the Metropolitan Opera including a role debut as Juliette in the new Bartlett Sher production of Roméo et Juliette, Leïla in Les Pêcheurs des perles, Tebaldo in Don Carlo, appearances on the Rising Stars concert series, and covers of Norina in Don Pasquale and Antonia in Les contes d’Hoffmann. Ms. Woodbury has also been regularly seen on the stage of LA Opera with roles including Micaëla in Carmen, Musetta in La bohème, and Papagena in Die Zauberflöte. Additional operatic highlights include Konstanze in Die Entführung aus dem Serail with both Des Moines Metro Opera and Dayton Opera, Pamina in Die Zauberflöte with Madison Opera, Donna Anna in Don Giovanni with the Merola Opera Program, and Lauretta in Gianni Schicchi at the Aspen Music Festival.
Concert work includes her LA Phil debut as the soprano soloist in Beethoven’s Choral Fantasy conducted by Gustavo Dudamel, Mahler’s Symphony Number 8 and Haydn’s Creation with the Cincinnati May Festival conducted by James Conlon, the soprano soloist in Carmina Burana with the Aspen Music Festival, and her international debut singing Ophelia’s mad scene from Hamlet by Thomas with Tokyo Metropolitan Symphony Orchestra.
In 2014 Ms. Woodbury was honored as a Grand Final Winner of the Metropolitan Opera National Council Auditions and second place and audience choice award in Plácido Domingo’s Operalia competition. Ms. Woodbury was also awarded both a Sarah Tucker Study Grant and Richard Tucker Career Grant, as well as Second Place and audience choice award in both the Eleanor McCollum Houston Grand Opera competition and the Dallas Opera competitions.
Ms. Woodbury received a Master of Music Degree in Vocal Performance at the University of Cincinnati College-Conservatory of Music, a Bachelor of Music degree at Indiana University, and currently resides in New York.
“Amanda Woodbury displayed a limpid tone across a broad vocal range as Amenaide, able to run crisply through challenging fioriture. Impeccable intonation and a cushioned approach to every note made her melancholy prison scene in Act II exquisite.” - Charles T Downey
“Listening to Amanda Woodbury sing it is like watching a skater land a triple axel in slow motion. It seems astonishing that the human body can execute such a thing.” - Lyndsay Christians
“Amanda Woodbury, a rising young soprano, made a powerful case for the title role, from the moment of the character’s gorgeous off-stage first appearance. Her silken legato and laser-precise intonation made this slow, lamenting aria ravishing, and she deployed exquisite soft high notes and some agile runs later, especially in the showpieces that bring the opera to its tragic conclusion.” - Charles T Downey
“Amanda Woodbury is just about perfect as Marguerite, the innocent young girl who is the true object of Méphistofélès’ machinations. Her performance of the so-called “Jewel Song,” “Je ris de me voir,” was masterful musically and dramatically — Woodbury conveyed the surprise, the joy, the excitement and the wistfulness of this scene with a rich, almost burnished tone that flowed effortlessly through registers. She was equally good in the mournful “Il ne revient pas,” as Marguerite reflects on Faust’s abandoning her after she gave birth to their child, and in the mad scene at the finale.” - James D Watts, Jr
“Soprano Amanda Woodbury was an ideal Micaëla, both physically and dramatically. A former member of the company’s Domingo-Thornton (now Domingo-Colburn-Stein) Young Artist Program, Woodbury sang the role as a young artist in 2013. Four years later, she has enhanced the role with her own development and maturity. A more girlish Micaëla back then, the role has matured with her, as she added depth to the overall static character, particularly in Act III. Her aria, “Je dis que rien ne m’épouvante” was the most beautiful moment of the three hour and 25 minute production.” - Arya Roshanian
“Operalia winner Amanda Woodbury arrived in a horseless carriage from which she alighted in the utmost of 1880s finery to sing her Waltz Song with great tonal beauty and graceful phrasing.” - Maria Nockin
“In the run’s final show on February 4, young Kentucky soprano Amanda Woodbury assumed her first Met leading role with considerable grace — not to mention lovely, pellucid tone far purer than Damrau’s sometimes hectoring timbre. Woodbury’s poised tone and relative calm gave the opera the still center it needed, without Damrau’s well-intended but manic physicality. The audience loved Woodbury, and I would love to hear her as Mozart’s [Konstanze].” - David Shengold
“Amanda Woodbury sang Leila in the final performance of Bizet’s delicious Pearl Fishers. James Conlon, whose taste in singers is impeccable, has promoted Woodbury at the Los Angeles Opera and also in Cincinnati. Her lovely lyric voice is clear and sweet, but also full of emotion. In her aria, which begins with a prayer and ends on a love note, she comfortably switches between extreme moods.” - Susan Hall
“To begin the performance, Ms Woodbury gave a lively rendition of “Je veux vivre” from Gounod’s “Romeo et Juliette,” currently running at the Met and which Woodbury performed in January. Woodbury’s crystal clear tone and immaculate coloratura matched her youthful vibrancy of the young lover. Woodbury next matched the stillness with “The Magic Flute’s” “Ach, ich fuhl’s”. In contrast to her first aria, she continued to show her emotional versatility and innate musicality through her perfect ebb and flow phrasing with crisp German diction.” - James Monroe Števko