• “Soprano Amanda Balestrieri had a beautiful, tender tone, and was particularly memorable in her “echo” aria, where she blended magically with an “echo” soprano from the choir…”
Kelly Dean Hansen, Boulder Daily Camera, 2 December, 2011
• “Both Amanda Balestrieri and the …[echo soprano]… were incredible in their grace…”
Robin McNeil, Opus Colorado online, 4 December, 2011
• “…soprano Amanda Balestrieri’s luminous, technically accomplished rendition of the madrigal ‘Exulta filia Sion.’ ”
Sabine Kortals, The Denver Post, October 22, 2010
• “[Balestrieri’s] high notes were thrilling.”
Joe Banno, The Washington Post, May 21, 2007
• “Balestrieri nicely balanced a bardic narrative voice and one of bittersweet lyricism…”
Clarke Bustard, Richmond Times Dispatch, December 14, 2006
• “…audibly well-schooled in the affective vocalizing of the early baroque and adept in underlining the music and drama with gesture and movement—[the] second installment of the festival was highlighted by Balestrieri’s performance of Vivaldi’s cantata “Amor, hai vinto…, a miniature masterpiece of stylized romantic moodiness and an exercise in brilliant coloratura.”
Clarke Bustard, Richmond Times Dispatch, May 2, 2005
• “Revered for her baroque repertoire…”
Joan Reinthaler, The Washington Post, December 2004
• “[Balestrieri] sang extremely well …with strong stage presence and comic verve.”
Joseph McLellan, The Washington Post, May 18, 2004
• “Zelenka (omitting brass and drums) is brilliant in the operatic mode, with a dazzling performance by soprano Amanda Balestrieri.”
Joseph McLellan, The Washington Post, October 14, 2003
• “Balestrieri’s voice was gorgeous, marked by the kind of breath control and fluidity that make for an ideal baroque singer…beautifully sung, with an almost sensual feel…one of the finest performances at the Baroque Festival in a number of years…The famous ‘Alleluia’ at the end was a triumph of light over darkness, a statement of all-consuming faith…very moving.”
Ron Emery, The Times Union, Saratoga NY, July 15, 2002
• “Wonderful vocals were presented by the absolutely divine Amanda Balestrieri.”
Terri Corcoran, THE WASHINGTON REVIEW, November 2001
• “For all the delights of a first-class vocal tournament, a shower of posies to Amanda Balestrieri [et alii] for their gleaming luxury tones, athletic roulades and melismas, nifty Spanish sibilants, trilled Rs—the works. Hardly ever is a voyage of discovery this much fun.”
Richard Buell, THE BOSTON GLOBE, January 23, 2001
• “Amanda Balestrieri’s silvery soprano scored points, especially in the ecstatic, emotional climax of the work, ‘Dulcissime’.”
Tim Smith, THE BALTIMORE SUN, November 21, 2000
• “[Balestrieri’s voice] is wonderfully accurate…and she uses it with great intelligence and musicality…she projected [the song] quietly and with an exquisitely French sound and inflection”
Joan Reinthaler, THE WASHINGTON POST, October 21, 2000
• “Not only is Balestrieri’s voice unusually versatile, but the timbre of her instrument is resplendent.”
Bob Waters, THE WASHINGTON POST, March 15, 2000
• “Amanda Balestrieri sang her solos with fluency and taste, her silvery soprano compelling, and with wonderful dynamic control. ‘Rejoice Greatly’ was a triumphant celebration of the birth of Christ, ‘If God be for us’ a moving statement of faith.”
Craig Smith, THE SANTA FE NEW MEXICAN, December 8, 1999
• “The radiant intelligence and pure sound of soprano Amanda Balestrieri imbued her solos with a luminous warmth.”
Joanne Sheehy Hoover, ALBUQUERQUE JOURNAL, December 6, 1999
• “…soprano Amanda Balestrieri sang with deep emotional involvement, flawless style and precise diction, pronouncing the Latin words with a striking French baroque accent.”
Joseph McLellan, THE WASHINGTON POST, March 15, 1999
• “Amanda Balestrieri’s soprano lines had clarity and shapeliness.”
Allan Kozinn, THE NEW YORK TIMES, December 17, 1998
• “Balestrieri had the unabashed sentimentality needed for Fauré’s ‘Notre Amour,’ the shimmering high notes for Schumann’s ‘Mondnacht’ and the slightly detached irony underlying the Berkeley songs. Her program contained quite a few discoveries as well as familiar favorites, and it left the audience wanting more.”
Joseph McLellan, THE WASHINGTON POST, February 10, 1998
• “The clarity of Amanda Balestrieri’s beguiling soprano was superbly matched by NSO clarinetist Loren Kitt’s warm legato…”
Thomas May, THE WASHINGTON POST, November 27, 1997
• …soprano Amanda Balestrieri maintained an elegance and purity of line that dovetailed with Colin St. Martin’s sylvan flute melodies to enchanting effect.”
Thomas May, THE WASHINGTON POST, May 20, 1997
• “Balestrieri is becoming one of the most sought-after singers on the early music scene. Her style happily combines vocal agility, keen intelligence, and impressive respect for the words she sings…”
Joseph McLellan, THE WASHINGTON POST, April 1, 1996
• “The soloists were splendid…I sat through the three hours of Messiah wishing it would never end.”
Alan Rich, L.A. WEEKLY, December 15-21, 1995
• “…the most notable (strength) being Balestrieri’s melismatic skills…Balestrieri ran the gamut of emotions …with sure artistic conviction…memorable warmth and vibrance.”
Mark Carrington, THE WASHINGTON POST, April 24, 1995