• La Cambiale di Matrimonio, Opera Omaha, 2012 “Amanda Crider, a meticulous mezzo-soprano, was delightful as Clarina, her coquettish facial expressions on par with the best of comediennes.” Kim Carpenter, Omaha World-Herald, February 2012“ • Chansons Madecasses, New World Symphony, 2011 “The mezzo-soprano Amanda Crider...was the soloist in Ravel’s Songs of Madagascar...Crider sing with a plush tone and dead-on intonation. In the erotic song Nahandove, she didn’t push the sensuality too far, singing in an almost chaste manner that let the words, music and the tonal beauty of her own voice carry the work. The second song, a call for revolution at white colonial rule, opened with the cries, “Aoua! Aoua!” that came off with an almost brutal power, as she hit the words hard in a shocking and effective contrast to the preceding eroticism.” David Fleshler, South Florida Classical Review, December 2011 • Carmina Burana, “In Trutina”, Seraphic Fire, 2011 “Mezzo-soprano Amanda Crider, brought a rich, deeply expressive voice to the celebrated solo In trutina, endowing the words with great depth of feeling” David Fleshler, Miami Herald, January 2011 • Mezzo Soloist, The Messiah, Apollo’s Fire, 2010 “The solo quartet is one of the most impressive Apollo's Fire has amassed in recent seasons.... mezzo-soprano Amanda Crider brought bountiful warmth to her duties.” Donald Rosenberg, The Plain Dealer, December 2010 “Let's just say this right up front: the performance by Apollo's Fire, Jeanette Sorrell, conductor, of George Frideric Handel's oratorio Messiah this past weekend was riveting...Mezzo Amanda Crider gave a touching performance of "He shall feed his flock.” ...It is not every day that one can honestly report that a performance of a warhorse is revelatory. Apollo's Fire's Messiah met that test. It will linger in memory for longer than this Christmas season.” Timothy Robson, Cleveland Classical.com, December 2010 • Le Nozze Di Figaro, Des Moines Metro Opera, 2010 “A winningly boyish Cherubino from Amanda Crider...” Mark Thomas Ketterson, Opera News, October 2010 • Schummaniade Recital, Sarasota, FL, 2010 “The standout singer among the four was mezzo Amanda Crider whose way with a trio of songs by the underestimated but estimable Clara Wieck Schumann showed both personality and vocal magnetism.” June Lebell, Your Observer, September 29, 2010 • Carmen, Florida Grand Opera, 2010 “Julia Ebner and Amanda Crider as Frasquita and Mercedes, respectively, were vocally magnificent.” Daniel Fernandez, El Nuevo Herald, April 27, 2010 • Il Barbiere Di Siviglia, Florida Grand Opera, 2010 “Funniest of all, is mezzo-soprano Amanda Crider as Berta the maid. Crider plays Berta as a lavishly eccentric fuddy-duddy whose every take and piece of business is a priceless hoot.” Tony Guzman, Miami Arts Lover, February 28, 2010 “Accomplished was Amanda Crider’s Berta, a character that is often overlooked in its comical potential.” Daniel Fernandez, El Nuevo Herald, February 23, 2010 • Le Nozze Di Figaro, Florida Grand Opera, 2009 “Of the supporting cast, we have to highlight the work of Amanda Crider as Cherubino…she earned deserved applause and ‘Brava’ cheers.” Daniel Fernandez, El Nuevo Herald, March 24, 2009 “The one who grew extraordinarily in her role was Amanda Crider as Cherubino.” Daniel Fernandez, El Nuevo Herald, March 29, 2009 “Cherubino was represented with complete grace by Amanda Crider, whom we have been able to admire on other occasions with the Florida Grand Opera.” Ariel Remos, Diario Las Americas, March 24, 2009 • Lakme, Florida Grand Opera, 2009 “Mezzo Amanda Crider was a magnificent Mallika, who shined in the Flower Duet and in her passages during the first Act.” Ariel Remos, Diario Las Americas, February 26, 2009 “Amanda Crider, with a beautiful mezzo voice, was enjoyable as Mallika” Daniel Fernandez, El Nuevo Herald, February 24, 2009 • Orpheus in the Underworld, Eugene Opera, 2008 “Amanda Crider as the hunting goddess Diana, a.k.a. Sarah Palin, had all the moves that brought roars from the crowd, from her “you betcha” to her wink…and Amanda Crider’s full mezzo soprano voice was delightful in her lament about losing a man because of her hunting dogs.” Marilyn Farwell, The Register Guard – January 2, 2009 • Scenes of Gypsy Life, Gotham Chamber Opera, 2008 “Each of the trio of Gypsies [were] sung very well by Leah Edwards, Amanda Crider, and Hannah Penn…” Vivien Schweitzer, New York Times – January 19, 2008 “Soprano Leah Edwards, along with mezzos Amanda Crider and Hannah Penn all proved adept musical exponents of Dvozák's atmospheric songs. Particularly lovely was the emphatic "Má písen zas mi láskou zní" (My song of love rings out) [sung by Crider]. Crider's rendition of the well known "Kdyz mne stará matka zpívat" (Songs my mother taught me) was melancholy but not lugubrious and showed a keen capacity for keeping a down-tempo musical line moving forward.” Adam Wasserman, Opera News – January 16, 2008 • Palm Beach Opera Vocal Competition Winner’s Concert, 2007 “Nobles seigneurs, salut!, from Meyerbeer’s Les Huguenots, received an impressive performance by mezzo-soprano Amanda Crider, sixth prize in advanced. She has a full assured voice and possesses good presence.” R. Spencer Butler, Palm Beach Daily News – May 2, 2007 • Cole Porter Celebration, Charlotte Symphony Orchestra, 2005 “The longest applause for a soloist was reserved for Amanda Crider, mezzo-soprano, when she sang "So In Love" with her heart and soul. Her voice, personality and effective dramatic gestures, also won the audience in "Why Can't You Behave?" and in a glorious four-part version of the gospel song, "Blow Gabriel Blow." Sandy Copperman, Sun Herald – January 11, 2005 • Faust, Des Moines Metro Opera, 2003 “Amanda Crider plays her part in the trouser role of the youth Siébel with vivacity and confidence that belie her years, singing in a focused, golden toned voice.” Robert C. Fuller, Des Moines Register – June 23, 2003 • South Pacific, Opera Boston, 2003 “Director Patricia-Maria Weinmann agrees that musicals are different than opera, and that there is a stereotype about opera singers being unable to act or move. “Amanda [Crider] is a known up and coming mezzo-soprano. When you cast something like this, you call your friends around the country and say, ‘What about her?’ Everyone said, ‘Grab her.’” Catherine Foster, Boston Globe – August 8, 2003 • L’Enfant et les sortilèges, Tanglewood Music Center, 2001 “In ‘L'Enfant et les sortilèges,’ Amanda Crider was a delightful pixie of a boy child, and she sang the gorgeous soliloquy about the heart of the rose with ineffable tenderness; her French was particularly good.” Richard Dyer, Boston Globe – July, 26 2001 “Of the two L’Enfant casts, Amanda Crider and Erin Smith were both delightful as the wayward Child, but Crider made an especially lovely thing of the brief air, ‘Toi, le coeur de la rose,’ with her care for French vowels.” Leighton Kerner, Opera News – November 2001