“Constanze was played by soprano Amanda Woodbury, and her gymnastic range and articulation as well as her rich timbre were a constant joy throughout the show.” - Drew Neneman
Read More“Ms. Woodbury and the orchestra made a persuasive case for his “Die Amerikanerin” (“The American Woman”), an unusual and elegant nine-minute secular vocal work, with a text about a determined man pursuing his lost maiden in an exotic realm.” - Anthony Tommasini
Read More“Woodbury’s voice, if anything, grew and bloomed during the opera, making the absolute most of the powerful arias such as “Sempra Libera,” Violetta’s fierce testament, as well as her duets with the Alfredo.” - Matt Costello
Read More“Woodbury is dazzling and plays the part always on the edge…How she does this so convincingly while at the same time supporting and spinning out the most pianissimo lines is the soprano’s own death-defying feat.” -Susan Gallbraith
Read More“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
Read More“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
Read More“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
Read More“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
Read More“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
Read More“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
Read More“Amanda Woodbury provided a purely voiced Musetta, lively and naughty in manner.” - TIMOTHY MANGAN
Read More“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
Read More“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
Read More“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
Read More“Woodbury sang an exuberant “Je veux vivre” from Romeo et Juliette and Brugger luxuriated in the roulades of the Jewel Song from Faust. Both are the more recent type of coloratura: more like a lyric soprano with flexibility than the chirpy ones of the past.” - Gregory Sullivan Isaacs
Read More“Her soprano is strong and elastic, precisely suited for the back-to-back arias that have as many punishing runs as anything Mozart wrote for his better known leading ladies in “Cosi fan tutte” or even “The Magic Flute.” (It was “Abduction,” after all, that Austria’s Emperor Joseph II famously dissed for having “too many notes.”)” - Michael Morain
Read More“If there was one actor onstage consistently connected to her role and her surroundings it was Amanda Woodbury, whose debut brought a silvery sparkle to the trouser role of Tebaldo. She was entirely alive to her fellow actors, overflowing with charm, and it was a joy to watch her strut confidently about the stage. One hopes that the rest of the cast can take a cue from her as this run continues. There’s too much talent collected here to deliver anything less than a memorable Don Carlo.” - Eric C Simpson
Read More“Amanda Woodbury, at the age of 26, took us through the emotional roller-coaster of Ophelia’s mad scene from Hamlet with the composure and bravura of a seasoned star.” - Barrett Wissman
Read More“Soprano Amanda Woodbury gave a powerful, transfixing performance as Donna Anna, the noblewoman whose traumatic encounter with Don Giovanni sets the opera in motion. Her singing was bright, beautifully colored, and full of strength and passion, with a fluidity to the phrasing that did nothing to lessen the overall potency of her delivery. “Or sai chi l’onore,” the Act 1 aria in which she first realizes the Don’s culpability and dedicates herself to vengeance, was a crowd-pleasing thrill.” - Joshua Kosman
Read More“Amanda Woodbury performed the role of Donna Anna in a grand manner, directing her facial expressions and gesticulations toward the last rows of the audience more than her colleagues. She had an impressive command of Anna’s music and sang “Non mi dir” with luxuriant tone and spot on coloratura that left many of us wanting to hear more from her.”
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