Konstanze — Die Entführung aus dem Serail
Madison Opera | Madison, WI
Director: Alison Moritz
“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.”
“Woodbury opens up her dramatic coloratura soprano again and again, sparkling on Mozart’s devilish, stunning arias.”
“DeMain strikes a careful balance, keeping the pacing of scenes and arias consistent while letting Woodbury lean in to that astonishing “Sorrow has become my lot” aria.” — Lindsay Christians, The Cap Times
Dayton Opera | Dayton, OH
"Top honors went to Amanda Woodbury's Konstanze, who met Mozart's unreasonable vocal demands with confidence and poise. Her full-bodied lyric soprano has plenty of presence in the lower register and easy access to the top, where much of the music lies. The long lines of "Traurigkeit" were beautifully suspended, and the extended runs of "Marten aller Arten" were both accurate and fiery. Clearly, she is a singer to watch." — Joe Law, Opera News
The Des Moines Metro Opera | Indianola, IA
"If the two leads, company newcomers Benjamin Bliss and Amanda Woodbury, sang as well for the Metropolitan Opera talent scout at Sunday's matinee, they may land soon on a much bigger stage in New York.
Our hero […] sings with a handsome tenor voice that aches with love for his damsel in distress.
And that damsel is something else. Costumed in a pink wig and a pink ruffled dress draped over farthingales, she looks like Vienna Barbie and sings like an angel. 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, The Des Moines Register
"Amanda Woodbury offered an impressive Konstanze, adorned with liquid trills and fluidly cascading passagework in some of Mozart’s most technically challenging music for soprano."—Mark Thomas Ketterson, Opera News