The Consul - Dicapo Opera (United States)

“Dicapo assembled a gifted cast for this production. The three main female characters, Magda, John's Mother and the Secretary, carry the heart of the drama. Amanda Winfield's portrayal of Magda grew in intensity from beginning to end. The high point of The Consul is Magda's Act II lament, "To this we've come." Winfield paced the line perfectly, ultimately arriving at a conclusion of powerful anguish. A strong presence throughout the opera, Winfield also was fully convincing in the hallucinatory passages of Act III's suicide scene.”

Arlo McKinnon, Opera News

“Starring as Magda Sorel, soprano Amanda Winfield displayed considerable dramatic flair as well vocal power, especially with her explosive second act solo”

Elyse Sommer, Curtain Up

The Valkyrie - New Zealand Symphony Orchestra Concert Performance Tour

“Spontaneous applause greeted the entrance of the eight other Valkryies to the famous Ride of the Valkyries music... The 'Val-kiwis', as they dubbed themselves, are sopranos... Amanda Atlas... and mezzos ... With such a line-up of soprano talent in full cry and the orchestra at full volume, the roof of the MFC nearly lifted off! The Val-kiwis were clearly having a ball, and the audience loved them.”

Sharon Talbot, NZ Theatre Review

“THE eight Valkyries were marvellous. In the famous Ride of the Valkyries they were absolutely thrilling, placing the best- known piece in the opera into its proper perspective, and interfacing with a distraught Brunhilde in moments of great theatre.”

John Button, Dominion Post

“Instead the (singers) worked along the narrow front margin of the stage and acted, all quite brilliantly, with their voices. That is of course exactly what is supposed to happen, but with all the other stage tricks removed, the effect was dynamite.

The sight and sound of eight monumental valkyries discussing their horses, and the heroes they carry, is certainly one of the happiest experiences I have had for many years.”

Timothy Jones, The Press

“There would be no show without the Valkyries, “those noisy girls” as comedienne Anna Russell called them during her famous tongue-in-cheek analysis of the Ring Cycle. Here they were gloriously noisy, mainly due, I think, to their forward placement on the platform, in a “stand-and-deliver” line.... It was all extremely visceral and thrilling! ... I liked the differentiations between the individual voices, some stronger than others, some differently focused... but... each voice played its part in giving the scene its astonishing impact.”

Peter Mechen, Middle C

“The Valkyries did not race around with helmets and spears; the eight women, nearly all New Zealanders, lined up across the stage and delivered; a formidable feminist fortress adding a physical dimension to Wagner's brilliant vocal demands.”

William Dart, New Zealand Herald

The Birmingham Philharmonic Orchestra (UK)

Strauss Four Last Songs

“This is a work of sublime nostalgia and resignation, and the soloist here, Amanda Winfield, tackling this benchmark piece for the first time, showed herself profoundly attuned to the texts and vocally capable of soaring above the dark colours of the eloquent scoring. Such was the triumph of this performance… that there was a sense that Brunnhilde’s Immolation from Wagner’s Gotterdammerung might be over the horizon.”

Christopher Morley, Birmingham Post

The Birmingham Philharmonic Orchestra (UK)

Mahler 2nd Symphony

“The introduction of human voice into the symphony should be magical – here it was. Anne Marie Gibbons… blended well with the warm and rounded soprano of Amanda Winfield.”

Norman Stinchcombe, Birmingham Post

Un Ballo in Maschera – Castleward Opera (Northern Ireland)

“Amanda Winfield as Amelia is a soprano to be reckoned with, whose portrayal had real emotion... her duet with Gustavus in Act II was among the best singing of the evening.”

Andrea Rea, Newsletter

“Amanda Winfield gave a characterful performance as Amelia. Her lovely stage presence attracted sympathy for her plight and her stunning low notes in the gallows scene were very moving.”

Ruth McCartney, Irish News

“...this year... two excellent voices have been engaged to sing some of Verdi's most difficult and most beautiful music – the husband and wife team of Ravil Atlas and Amanda Winfield.”

George Fleeton, Down Recrder

“As the love-stricken Amelia, Amanda Winfield sings with complete assurance yet straight from the heart.”

Andrew Johnstone, Irish Times

“Castleward came up trumps with the lead roles of Gustavus (Ravil Atlas) and Amelia

(Amanda Winfield). The tenor and New Zealand soprano provided a celebration of great singing for the audience...Their back-to-back arias in the second act were simply breathtaking.”

Dick O'Riordan, The Post

A Classical Christmas (Northern Ireland)

“Last night it was married couple Amanda Winfield (soprano) and Ravil Atlas (tenor) who – as befits the name – have conquered the world! Amanda’s performance of Mascagni’s ‘Ave Maria’ brought tears to my eyes… a bewitched audience.”

John McCullagh, Newry Journal

La Voix Humaine – Nashville Opera (United States)

“Winfield, a New Zealander who made her Lincoln Center debut two years ago, makes a strong debut here. She is a soprano with rich vocal variety. She also shows that she cannot only sustain character moments but also build on them as a woman who can't accept the finality of her situation — all while onstage alone for 40 minutes.”

Evans Donnell, The Tennesseean

“… a virtuoso solo performace… Winfield express(ed) obsession, panic, suicidal despair with a fine dramatic voice, and maturity and perceptiveness well beyond her years.”

Lindis Taylor, New Zealand Opera News

Carmen – Southern Opera (New Zealand)

“Of the others in the cast I was most impressed with soprano Amanda Winfield as Frasquita with her powerful top register.” Howard Livingston, Sunday Star Times

Side by Side by Sondheim – Augusta Opera (United States)

“The marvelous modulation of Amanda Winfield and Pilar Cragan's vivacious verbal virtuosity were blended also in perfect complement and supported by Willy Falk's at times nearly "Patinkin-like" performance, combined all into a spectator's delight.”

Vera Farmer-Welk, Augusta Chronicle

The Tales of Hoffmann – National Lyric Opera of New York (United States)

“…special mention must be given to soprano Amanda Winfield, as Giulietta, who offered (a) powerful, clear and magnificently dramatic performance that, on quite a few occasions, brought down the house.”

David Lasky, Worcester Telegram and Gazette

“…a glorious Giulietta… full-throated singing”

Jeff Rapsis, HippoPress.com

Street Scene – Dicapo Opera (United States)

“The piece’s other pole is the relationship between Rose Maurrant (sung by Amanda Winfield, a soprano with a bright, able voice), and Sam Kaplan…”

Anne Midgette, The New York Times

“Amanda Winfield, a New Zealand soprano performing with astonishing confidence and ease in the American idiom, has a lovely voice and persona and should have a bright future.”

David Shengold, LGNY

“… Amanda Winfield sang with a clean, well-focused soprano; her characterisation revealed a spine of steel beneath the well-scrubbed girlishness.”

William V. Madison, Opera News

Passion – Dicapo Opera (United States)

“Amanda Winfield delivered a glowingly wise rendition of Clara…”

Eric Grode, The Sondheim Review

The Mansfield Stories (World premiere, New Zealand)

“…an astonishing job of portraying the lonely, middle-aged spinster, showing what an outstandingly mature performer she is… this was really Winfield’s show.”

Michael Vinten, Capital Times

Final Concert – New Zealand Opera Training School

“…standout performance… in Amanda Winfield we have an intuitive actress and a striking voice that seems equally suited to dramatic intensity… and coquette humour…”

David Charteris, Wanganui Chronicle

Hercules – Pocket Opera (New Zealand)

“... Winfield sang very well, and… invest(ed) her character with real pathos. Her mad scene and suicide were as compelling as her recent portrayal of Suor Angelica.”

Gillian Bibby, The Evening Post

Suor Angelica – Victoria University (New Zealand)

“Dramatically and vocally (Winfield) is convincing and impressive as the young nun.”

Michael Vinten, Capital Times

“…Winfield was well equal to the heavy demands of the overwrought “Senza Mamma”, a fine performance…”

Roger Wilson, New Zealand Opera News

St. John Passion (New Zealand)

“… (Winfield’s) voice reflected the sadness, but was warm and full on the recurring high figures.”

Ruth Evans, Wanganui Chronicle