Forsythe shows here why she deserves top rank. Her agility, her invention and her voice - a straight core sound wrapped in luminous timbres - are remarkable…particularly in allegro moods, Forsythe sets arias on fire; her handling of war-horses like 'Da tempeste' (Giulio Cesare) will amaze even the jaded connoisseur

Amanda Forsythe's intelligent and characterful singing means there's no risk of these being merely yet another slog through audition warhorses…Sorrell's strategy to interleave four dances between clusters of arias is neatly effective

‘Piangerò’ seems inevitable nowadays in Handel soprano recitals, but Forsythe’s is a fine performance, unexpectedly dramatic in the recitative. Unlike many of her ilk, she can call on a more womanly colour of voice when she needs it. She also attacks the fast-and-furious B section with terrific aggressiveness. In another ultra-familiar piece, ‘Tornami a vagheggiar’, one can appreciate Forsythe’s trills (so entrancingly integrated into the vocal line by Handel) and her ease in high interpolations.