"Amanda Squitieri is a captivating presence..."
"...she sang with appealing perkiness."
"...riveting to watch..."
"As Valencienne, soprano Amanda Squitieri offered a shimmering, youthful soprano and a welcome gift for physical comedy in her clumsy participation with the can-canning Grisettes; it is no surprise that among Squitieri’s credits are musical theater roles."
— JENNIFER GOLTZ-TAYLOR Opera News, April 11, 2015
"Ms. Squitieri has the enviable, or unenviable depending on how one looks at it, spot of being the second soprano on stage to Ms. Voigt. But, in fact, she lights up the stage as Valencienne, getting her timing and acting just right at every turn. While she treats her much older husband Baron Zeta for a rube, even convincing him that he did not see her through the keyhole of the pavilion in the carnal embraces of Rosillon, she never forgets that she is, in fact, a lady of court and carries herself as such throughout with every movement and piece of stage business. We root for her despite her behavior, and that equals success."
— David Kiley Encore Michigan, April 12, 2015
"The scenic presence of Squitieri was of such force that her stage presence and powerful voice filled, affected and paralyzed the entire theater. When she greeted the public, the interpreter of the unfortunate nun was applauded with a standing ovation."
— Ivonne Guzmán | El Comercio, November 19, 2011
"Amanda Squitieri — subtle yet hilarious in expression, singing beautifully in legit as well as popular styles, riveting to watch — gave a terrific performance as the café chanteuse Manon. Sign her up for Sally Bowles (or Musetta)."
— David Shengold | Opera News, November 2011
"Among the other standards are "If Love Were All," which proves to be a showstopper thanks to Squitieri's mixture of powerhouse vocals and cunning showmanship..."
— Andy Propst | Theater Mania, August 5, 2011
"Soprano Amanda Squitieri and especially baritone Marco Caria, as the squabbling lovers Musetta and Marcello, were in wonderful voice; hers was sparkly bright with an edge, his was mellow yet piercing."
— Pierre Ruhe | ArtsCriticATL, April 29, 2011
"Singing with a sensuously lyrical soprano, Amanda Squitieri is a captivating presence as Beatrice."
— George Loomis | New York Times, December 14, 2010 | Beatrice Russo in the world premiere of Daniel Catan’s Il Postino at LA Opera
"Amanda Squitieri is one of the most engaging singers of the younger generation; as Beatrice she sang with a rapt serenity that indicates a capacity to grow beyond the ingénue roles with which she has so far been associated."
— Simon Williams | Opera News, December 2010
"Soprano Amanda Squitieri sang Beatrice, the sexy waitress made famous in the movie by Maria Grazia Cucinotta, moving gracefully across the stage and pairing it with a compelling voice in a manner few singers do."
— Ronald Blum | Associated Press, September 24, 2010
"Soprano Amanda Squitieri looked pretty and sang prettier as Beatrice Russo, the love interest."
— Timothy Mangan | Orange County Register, September 30, 2010
"Amanda Squitieri’s fresh soprano informs Beatrice, the poet’s beloved, with immense appeal..."
— Allan Ulrich | Financial Times, September 28, 2010
"Squitieri's Beatrice and Gallardo-Domâs Matilde both managed secure navigation of high notes throughout with Squitieri in particular receiving a huge ovation at the curtain call."
— OutWest Arts, September 23, 2010
"Catán writes winningly for women, and Cristina Gallardo-Domâs (Matilde) and Amanda Squitieri (Beatrice) are the seductive yet grounded counterparts of their men, both in luscious voice."
— Mark Swed | Los Angeles Times, September 24, 2010
"Soprano Amanda Squitieri was an alluring Beatrice, rich-voiced and provocative..."
— Joshua Kosman | San Francisco Chronicle, September 25, 2010
"Both Cristina Gallardo-Domas and Amanda Squitieri gave off an idealized, romantic after-glow as the respective wives."
— Donna Perlmutter | Huffington Post, September 29, 2010
"Soprano Amanda Squitieri’s winsome barmaid, Beatrice, was a perfect foil for Mario’s starry- eyed idealist. With a young voice that sparkles as brightly as her smile, Squitieri stole hearts on both sides of the proscenium. A dramatic standout was a first encounter with Mario in the bar, where her competitive, seductively engaged character triumphs in an impromptu match of pinball soccer."
— Rodney Punt | LA Opus, September 24, 2010
"Amanda Squitieri is perfection as the virginal wife Anne, singing with precision and beauty and approximating the flightiness and experience of a young woman with nary a false move."
— James Sohre | Opera Today, June 21, 2010
"Amanda Squitieri and Erin Holland were effective as the young and not-so-young wives Anne Egerman and Charlotte Malcolm."
— Scott Cantrell | Dallas Morning News, June 20, 2010
"Anne...sung alluringly by Amanda Squitieri..."
— George Loomis | Classical Review, June 19, 2010
"There were strong, funny performances from soprano Amanda Squitieri, as Anne..."
— Sarah Bryan Miller | St. Louis Post-Dispatch, June 7, 2010
"Perhaps most engaging of the female voices was that of Amanda Squitieri as Zerlina. Unusually for the singers usually playing this character, Squitieri has a mature, rich voice that was shown to good advantage in Batti, batti, o bel Masetto, and she was a good actress who made a believable gullible peasant on the one hand, and a master of her man in her own domain on the other."
— Greg Stepanich | Palm Beach Post, February 27, 2010
"As Zerlina, Amanda Squitieri was excellent, believable as a gullible peasant girl and a master of her own relationship, and good with Smoak and Myshketa. Squitieri has a relatively rich, mature soprano, unlike the lighter voices that are more common for Zerlina, but it worked well, particularly in her fine reading of Batti, batti o bel Masetto."
— Greg Stepanich | Palm Beach ArtsPaper, February 27, 2010
"As Zerlina, the peasant girl whom the Don steals from her husband, Amanda Squitieri brought a voice with more richness than usually given to this light role. Although she expressed little of the coquettish side of the one woman who seems a match for the Don - showing no obvious relish for example, for toying with her hapless husband - she brought a sweetly lyric tone to Batti, batti and Vendrai, carino."
— David Fleshler | South Florida Classical Review, February 27, 2010
"The selection of West Side Story that occupied the second half did not contain any chorus or dialogue. Of the soloists, I liked above all the soprano [Amanda Squitieri] and her "Somewhere" with precise intonation and loaded with deep emotion."
— Alfredo Brotons Muñoz | Levante, June 15, 2009
"The popular part corresponding to West Side Story, where we discover the pair of soloists. The young soprano Amanda Squitieri showed security and seriousness in her role of Maria..."
— Ana Galiano | El Mundo, June 14, 2009
"Amanda Squitieri was his peppery Papagena."
— Chris Pasles | LA Times, January 11, 2009
"...Amanda Squitieri‘s Papagena looked like the answer to his [Papageno] frantically happy dreams."
— Donna Perlmutter | Los Angeles CityBeat, January 14, 2009
"Baritone Markus Werba hopped around like an insouciant bird in his feathered Papageno get-up, chopping up the vocal line at times. But he could also sing smoothly when teamed with Wall‘s Pamina, and he and Amanda Squitieri‘s Papagena made a giddy, charming pair near the end of Act 2."
— Richard S. Ginell | LA Times, January 12, 2009
"The veteran Heinz Zednik, as the Circus Master, and Amanda Squitieri, a hearty soprano as Esmeralda, were bright spots."
— George Loomis | Opera, January 2009
"Oppositely, it was a great pleasure to hear certain voices...and still yet, the very sparkling and opulent [voice] of Amanda Squitieri as Esmeralda."
— Bertrand Bolognesi | Anaclase.com, October 21, 2008
"...the invaluable Heinz Zednik as the Ringmaster, a delicious Esmeralda (Amanda Squitieri, to follow)..."
— Jean-Charles Hoffelé | Concertclassic.com, October 14, 2008
"Finally I should note; the extraordinary appearance of the young Amanda Squitieri as Esmeralda who not only danced beautifully but moreover sings with a pleasant color and agreeable sound! A dream come true for me in opera: a true ballerina singer. A 'petite' to follow!"
"Amanda Squitieri, in her company debut as Lisette, Magda's maid, may have a darker voice than expected for such a soubrette role, but she sang with appealing perkiness."
— Chris Pasles | Los Angeles Times, June 9, 2008
"Amanda Squitieri, in her company debut as the light-hearted Despina-type, imbues her role with a tremendous voice to carry across the pavilion and the soubrette mentality to win the audience's hearts."
— LA2DAY.com, June 2008
"As is so often the case, the evening is actually carried by the pair of second lovers: Amanda Squitieri as a housemaid with theatrical ambitions, Greg Fedderly in pursuit."
— Alan Rich | Bloomberg.com, June 18, 2008
"The principal whom I had not heard before was Amanda Squitieri, the Lisette. She proved to have a larger voice than is often assigned to this part, and acted with the pertness and vivaciousness expected of an operatic soubrette. Squitieri, Fedderly and Pittsinger proved to be as strong a trio in the three ―co-starring‖ as one is likely to see."
— OperaWarhorses, June 9, 2008
"Amanda Squitieri sang the role of Lauretta (and the famous aria 'O mio babbino caro') with youthful, tremulous ecstasy."
— Tim Page | Washington Post, September 18, 2006
"Among an all-around knockout cast, there was one standout. Soprano Amanda Squitieri's portrayal of Adina had the hallmarks of a resounding breakthrough. Everything about her singing worked, with a beautifully supported instrument floating long, sweet melodies to the upper reaches of the Opera House. She dexterously handled the coloratura flourishes, bringing depth to one of Donizetti's famously cartoon-like characters."
— Daniel Ginsburg | Washington Post, April 13, 2006
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