Amanda Forsythe - Opera Roles

Opera Roles

  • Aglaure, Psyché (Lully)
  • Amenaide, Tancredi (Rossini)
  • Amore, Il ritorno d'Ulisse in patria (Monteverdi)
  • Angel, Angels in America (Peter Eötvös)
  • Atalanta, Xerxes (Handel)
  • Barbarina, The Marriage of Figaro (Mozart)
  • Cendrillon, Cendrillon (Pauline Viardot)
  • Cleopatra, Giulio Cesare in Egitto (Handel)
  • Corinna, Il viaggio a Reims (Rossini)
  • Dalinda, Ariodante (Handel)
  • Ellenia, Antiochus und Stratonica (Christoph Graupner)
  • Iris, Semele (Handel)
  • Proserpina, L'Orfeo (Monteverdi)
  • Rosalia, L'equivoco stravagante (Rossini)
  • Serpina, La serva padrona (Pergolesi)
  • Un Trojano, Paride ed Elena (Gluck)
  • Venus, Venus and Adonis (John Blow)
  • Young Margarita, Ainadamar (Osvaldo Golijov)

Read more about this topic:  Amanda Forsythe

Famous quotes containing the words opera and/or roles:

    “If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
    —W.H. (Wystan Hugh)

    “There is a striking dichotomy between the behavior of many women in their lives at work and in their lives as mothers. Many of the same women who are battling stereotypes on the job, who are up against unspoken assumptions about the roles of men and women, seem to accept—and in their acceptance seem to reinforce—these roles at home with both their sons and their daughters.”
    —Ellen Lewis (20th century)