“Boyd’s fine soprano soars above some dazzling imagery as the story careers between Kate’s predicament, the stylized performance of the oepra’s parallel storyline, and a series of fantasy sequences inspired by Donizetti’s source, the novel The Bride of Lammermoor by Sir Walter Scott. Boyd is at the center of each strand, giving three interpretations of the same character.”  – The Times

“Amanda Boyd, one of Britain’s rising young opera singers, plays Kate and sings Lucia. Her performance is, in every sense of the phrase, a tour de force. She is small, very pretty, and remarkably straightforward.” – The Herald

“Don’t you know opera is sexy nowadays?...And as if to prove a point, step forward soprano Amanda Boyd. One of the finest voices of her generation.” - The Scotsman

“If opera at the movies makes you squirm, hold on. It can be done, as Amanda Boyd, soprano and actress, proves in a new film based on Donizetti and previewing at Edinburgh.”  – Alison Kerr

“Boyd is a tiny woman with a fabulous voice.”  – The Evening Standard


National Opera Studio Showcase
“The singing – and the stage presence – which really had me on the edge of my seat came from the bright-eyed, keen-eared soprano of Amanda Boyd who, miraculously, presented both a Euridice of melting and almost painful eloquence, and a Papagena of raucous charm.” - Opera Magazine


Cosi fan tutte
“Amanda Boyd was an outstanding Despina. The recitatives flowed crisp and clear in the translation of Ruth and Thomas Martin.” – Opera Magazine


“As the focus of romantic interest, Romilda was sung with great charm and a real sense of character by Amanda Boyd, who never allowed her sister and rival, Atalanta (the excellent Jeni Bern), to steal the show.”   – The Observer

“Amanda Boyd [was] a skittish, flirtatious Romilda” – Opera Magazine


The Nightingale’s To Blame
“Thora Einsdottir and Amanda Boyd were acrobatically as well as vocally brilliant.”   

– The Independent


Hey! Persephone
“All this makes for great atmosphere which is sustained throughout the first act, culminating in a haunting, lyrical duet for Maeve, the daughter, and her lover, John, beautifully sung by Amanda Boyd and Damien Thantrey…There was much to enjoy, both in the vocal writing – with its evocation of Gaelic “keening” – and the individual performances, particularly Amanda Boyd’s resplendent Maeve.        – The Independent


“The best singers seem to be Damian Thantrey as the hippy John, [and] Amanda Boyd as Maeve.”  – The Times

“Gribbin…is [well served] by the cast itself, which is superb from top to bottom, among them…Amanda Boyd equally sweet-toned and touching.”        – The Evening Standard


The Art of Noise
“…Things improved when opera singer Amanda Boyd added her glorious voice as a texture, from the haunting ‘On Being Blue’ to a near-soliloquy of Debussy’s ‘La Flute de Pan.’ The slight-of-build Boyd also lent a visual flair as a dancing foil to Morley, especially to the techno-funk change-ups out of the hypnotic lulls in ‘Moments in Love.’” – The Boston Globe