Amanda Opuszynski, soprano

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BARBARINA in Le nozze di Figaro (Seattle Opera)

“Amanda Opuszynski was delightfully sweet-voiced and arch-backed as a pregnant Barbarina (that Count!).”

-Mark Mandel, Opera News (January 16, 2016)

MICAELA in Carmen (St. Petersburg Opera)

“Opuszynski’s soprano is as sweet as her portrayal of Micaela is fragile and endearing.”

-Andrew Meacham, Tampa Bay Times (October 17, 2015)

NAJADE in Ariadne auf Naxos (Seattle Opera)

“Ariadne’s three attendants (Naiad, Dryad and Echo) were artfully sung by Amanda Opuszynski, Maya Lahyani and Andrea Carroll.”

-Melinda Bargreen, Seattle Times (May 3, 2015)

“The comely nymphs were distinct in sound — Amanda Opuszynski’s Naiad bright and forwardly placed, Andrea Carroll’s Echo darker and recessed, Maya Lahyani’s Dryad deep and extraordinarily rich.”

-Mark Mandel, Opera News (May 2, 2015)

FRASQUITA in Carmen (Pacific Symphony Orchestra)

“Since Carmen and Mercédès had lower voices, it was up to Frasquita to sing the high notes and Opuszynski came through with flying colors.”

-Maria Nockin, (February 27, 2015)

“Sarah Larsen and Amanda Opuszynski were the aptly bubbly and pointed Mercédès and Frasquita.”

-Timothy Mangan, Orange County Register (February 20, 2015)

JOHANNA in Sweeney Todd (Virginia Opera)

“Andre Chiang used his bright tenor deftly as Anthony and Amanda Opuszynski chirped sweetly as Johanna.”

-Tim Smith, Opera News (October 12, 2014)

“As the much put-upon Johanna, soprano Amanda Opuszynski—whom we chanced to see this summer singing the role of Frasquita in the Santa Fe’ Opera’s provocative “Carmen—virtually embodied her part here, as fresh and innocent as Frasquita was worldly and without scruple. Her brief, bright duets with Mr. Chiang were like bursts of sunlight in a world otherwise abandoned to sin, evil and death.”

-Terry Ponick, Communities Digital News (October 15, 2014)

“Chiang and Opuszynski made a lovely pairing as Anthony and Johanna. Their voices gave this production its few tender moments. Chiang's sensual "Johanna" followed by Opuszynski’s luscious "Green Finch and Linnet Bird" was easily one of the highlights of this production. Both exuded the youthful optimism of their characters set against the dark stains of industrial London.”

-Benjamin Tomchik, (October 15, 2014)

“Andre Chiang as Anthony, Amanda Opuszynski as Johanna and Jake Gardner as Judge Turpin are other standouts in the cast.”

-Roy Proctor, The Richmond Times-Dispatch (October 5, 2014)

“Amanda Opuszynski, as Johanna, and Andre Chiang, as Anthony Hope, the young sailor who rescues Sweeney at sea, once they make landfall in London, falls in love with Johanna, are an attractive and suitably fresh-voiced couple.”

-Clarke Bustard, (October 4, 2014)

“Amanda Opuszynski is a lovely lyric soprano who fully suggests her need to "sing, if I can't fly" as the ingenue Johanna.”

-Mal Vincent, The Virginian-Pilot (September 28, 2014)

FRASQUITA in Carmen (The Santa Fe Opera)

“Amanda Opuszynski’s Frasquita had bell-like high notes...”

-Maria Nockin, (August 15, 2014)

“Smaller roles were handled well by the cast, particularly the roles of Carmen’s fellow female smugglers Frasquita (Amanda Opuszynski) and Mercédès (Sarah Larsen).”

-Terry Ponick, Communities Digital News (August 10, 2014)

“Noah Baetge and three of the company’s Apprentice Artists, Amanda Opuszynski, Sarah Larsen, and Dan Kempson, made for a superb team as Remendado, Frasquita, Mercédès, and Dancaïre.”

-Opera Magazine (November 2014)

“Carmen’s smuggler friends were a charismatic and well-cast group, with Amanda Opuszynski as Frasquita, Sarah Larsen as Mercédès, Dan Kempson as Le Dancaïre and Noah Baetge as Le Remendado.”

-Corinna da Fonseca-Wollheim, New York Times (July 29, 2014)

“As the characters Mercedes and Frasquita... Their polished, ringing voices resonate easily through the open-air auditorium, navigating with ease the leaping passages of the trio. Opuszynski displays beautiful legato as she introduces the themes, and Larsen’s round, lustrous tone follows her lines effortlessly. They both blend easily with Daniela Mack, who is singing Carmen...”

-Jason Vest, Classical Singer Magazine (July 2014)

“Carmen’s companions Frasquita (Connecticut soprano Amanda Opuszynski) and Mercedes (Minnesota mezzo-soprano Sarah Larsen) made a fine impression, especially in the card scene, in which their predicted fates were so much happier than that of Carmen herself.” (June 28, 2014)

NAJADE in Ariadne auf Naxos (Virginia Opera)

“Amanda Opuszynski, Courtney Miller and Jessica Julin masterfully sang their roles as nymphs.”

-Gene Harris, The Richmond Times-Dispatch (February 24, 2014)

“Amanda Opuszynski, Courtney Miller and Jessica Julin are in fine voice, individually and collectively, as the trio of nymphs who hover around (and psychoanalyze) Ariadne.”

-Clarke Bustard, (February 23, 2014)

“...the trio of sprites—Amanda Opuszynski, Courtney Miller, and Jessica Julin—who float at her side in a watery scene, looking and acting like the Wagnerian Rhinemaidens they’re spoofing.”

-Terry Ponick, Communities Digital News (February 22, 2014)

“Their serious counterparts - Naiad, Dryad and Echo - were also well-played by Amanda Opuszynski, Courtney Miller and Jessica Julin. They were particularly impressive in their first trio, in which their fast-moving lines had to interact with great precision - and they did.”

-Lee Teply,  The Virginian-Pilot (February 9, 2014)

PAPAGENA in The Magic Flute (Virginia Opera)

“One of the most enjoyable moments of the evening was when [Papageno] was finally united with his Papagena, sung and acted with vivacity by soprano Amanda Opuszynski. Their famous duet was
sheer delight.”

-Robert R. Reilly, (December 10, 2013)

“Experiencing love in a more basic and physical way, the Papageno/Papagena pair of baritone David Pershall and soprano Amanda Opuszynski had strong singing and acting skills. Their robust sound matched their youthful energy.”

-Lee Teply, The Virginian-Pilot (November 9, 2013)

“As his eventual lady love, Papagena, soprano Amanda Opuszynski was equally adept at comedy and, although her role was small, she was a fine and articulate vocal love match for Mr. Pershall’s Papageno as well.”

-Terry Ponick, The Washington Times (December 13, 2013)

“The supporting cast is unusually strong. Amanda Opuszynski is an effervescent Papagena.”

-Clarke Bustard, (November 23, 2013)

NANNETTA in Falstaff (Virginia Opera)

"Mr. Blake and Ms. Opuszynski were delightful in their roles, the former for a clarion clear and sweetly romantic tenor, and Ms. Opuszynski for her sprightly, silvery and very youthful soprano."

-Terry Ponick, The Washington Times (October 13, 2013)

“Amanda Opuszynski and Aaron Blake, the hopeful lovers in the subplot, provided one of the show’s funniest scenes”

-Joan Reinthaler, The Washington Post (October 13, 2013)

"And there’s a romantic subplot between two young lovers -- Nannetta (Amanda Opuszynski) and Fenton (Aaron Blake) -- that shines lovingly."

-Matthew Miller, (October 7, 2013)

"Since the music is so light, this opera is a test of acting ability rather than singing ability. The young couple and Ford (Weston Hurt) are the exceptions, and all three rise to their brief occasions, particularly Opuszynski."

-Nicholas Heavens, (September 28, 2013)

FRASQUITA in Carmen (The Atlanta Opera)

“The AO production boasted an adept crew of supporting singers. Amanda Opuszynski shone as Frasquita. Most of Frasquita’s singing is within ensemble numbers, but Opuszynski’s burnished soprano voice could be heard clearly, exciting and fresh.”

-Stephanie Adrian, Opera News (November 10, 2012)

"It must be said that Costello and Opuszynski were a delightful combination as Mercédès and Frasquita respectively, providing an enchanting lightness in the heavy depths of the drama."

-Maria Pia Ugarte, (November 12, 2012)

"Amanda Opuszynski (Frasquita) and Kaitlyn Costello (Mercédès) were glorious, engaging in their own right."

-Stephanie Adrian, (November 12, 2012)

MRS. SQUIRES in The Music Man (Glimmerglass Festival)

“The Pick-a-Little Talk-a-Little ladies, cohorts of the mayor's wife comprising Glimmerglass Young Artists Samantha Korbey, Lisa Williamson, Stephanie Lauricella and Amanda Opuszynski, proved a hilarious assortment of village gossips.”

-David Abrams, (July 17, 2012)

NORINA in Don Pasquale (Seattle Opera Young Artist Program)

But the most impressive singing of all came from Amanda Opuszynski, a Norina of charming voice, dazzling technical facility, and the sort of fetching appearance one doesn’t always have the pleasure of watching in the role.”

-Bernard Jacobson, (April 4, 2012)

“Amanda Opuszynski was a deliciously devilish Norina, with a powerful soprano voice to match.” (April 3, 2012)

Fine singing from them all throughout... However, the opera story... needs plenty of help from the acting and visuals to keep it alive and here the young singers excelled, particularly Uloth and Opuszynski, who have the lion’s share of the funny side of things... The pert and lively Opuszynski, the center of the action, has a blast pretending to be a shy, demure, virginal girl, dressed to match, until the pseudo-knot is tied when she turns into a virago.”

                                 -Philippa Kiraly, (April 3, 2012)

FRASQUITA in Carmen (Seattle Opera)

“The rest of the cast provided exemplary support on both nights, with admirably vivid characterizations from Joseph Lattanzi as the would-be seductive Moralès, from David Krohn and Andrew Stenson as the two lead bandits, and from Amanda Opuszynski and Sarah Larsen as their molls.

-Bernard Jacobson, (November 2, 2011)

“There are noteworthy contributions as well from Donovan Singletary as Don José’s arrogant army boss, Zuniga... and Amanda Opuszynski and Sarah Larsen, who sing Carmen’s friends Frasquita and Mercédès.”

-Thomas May, (October 17, 2011)