Entertaining Miss Austen, Dutton Epoch CDLX 7271
- ‘The soprano, Amanda Pitt, delivers her items with sincerity and warmth, as well as a wide-ranging variety of sentiment. This is an enjoyable programme, suitable for a wider audience beyond the specialists.’ (The Regency World of Jane Austen)
Songs & Piano Music by Edward Elgar CD AVIE AV2129
- ‘Sea Pictures is given in Elgar’s piano version in the original high keys, which Pitt manages splendidly.’ (Paul Driver, The Sunday Times)
Elgar Recital, Three Choirs Festival
- ‘Amanda Pitt and David Owen Norris were out of this world’. (Roderic Dunnett)
Celia in Taming of the Shrew by Martin Y Soler, Bampton Classical Opera
- ‘One of the company’s most valuable assets is Amanda Pitt – it was she who brought out the fun and fizz in this amazingly swift-moving and clever production.’
Roger Quiter CD Naxos CD 8.55749
- ‘Gentle pleasures, decent measures and plenty of material new to the catalogue… Not surprisingly, given the calibre of the artists involved, performances are consistently sympathetic, soprano Amanda Pitt and mezzo Joanne Thomas blending especially well. David Owen Norris’s accompaniments are past praise in their scrupulous sensitivity. Clean and true sound, too.’ (Andrew Achenbach, The Gramophone, January 2006)
- ‘Langridge and Pitt come over particularly well.’ (Anne Ozorio, Musicweb, June 2005)
- ‘”Ye banks and braes” sung most sympathetically by Amanda Pitt. She rises so well to the rhythmic and tempi challenges of the following arrangement “Charlie is my Darling” … And the depth of feeling they they convey in that lovely song of regret “Ca the yowes”.”Where go the boats?”…. is sung most beautifully by Amanda Pitt and Joanne Thomas, their voices blending beguilingly. I must also mention the ravishing beauty, as communicated by these two ladies, of “Summer Sunset”.This collection includes three songs from the stage. Most memorable is the haunting “Love calls through the summer night”. Philip Langridge and Amanda Pitt sing it with commendable unembarrassed elan.A memorable collection, sympathetically performed. With over half the songs première recordings, this is an album that all Quilter enthusiasts simply must have.’
(Ian Lace, Musicweb Bargain of the Month, April 2005)
Recital of Lieder by Robert & Clara Schumann and Brahms at Royal Northern College of Music, Manchester
- ‘The youthful singer of these expressions of warm sentiment was the soprano Amanda Pitt… Pitt’s simple and direct interpretation was wonderfully free from the cloying sentimentality or mawkish coyness that has ruined performances by many more illustrious singers.’ (Lynne Walker, The Independent, 13 January 2005)
- ‘..Schumann’s rapturous portrait of a woman’s marriage, the cycle Frauenliebe und Leben. Pitt put this across with simplicity and conviction, her husky vibrato a natural throb of passion.’ (Paul Driver, The Sunday Times, 16 January 2005)
- ‘.. she gave a fine and poised delivery of Robert Schumann’s Frauenliebe Und Leben cycle, plus songs by Clara Schumann and Johannes Brahms’ (Robert Beale, Manchester Online, 10 January 2005)
Mrs Ford (Falstaff) in Bampton Classical Opera’s first British performance of Salieri’s masterpiece
- ‘Amanda Pitt (Alice Ford) has a comic twinkle, loads of personality and tangible pathos. Salieri’s superb librettist, Defranceschi, drops in a scene (for their Viennese audience) where she bamboozles Falstaff in German disguise, singing in earthy pidgin-Deutsch. Pitt did it hilariously.’ (Opera Now, November 2003, Roderic Dunnett)
Auretta (L’Oca del Cairo/The Cairo Goose) and Work Experience Girl (Der Schauspieldirektor/The Impresario) in Bampton Classical Opera’s production ‘Waiting for Figaro’
- ‘Amanda Pitt is a real discovery; a fine singer and a wonderful comic character actress. Cast as a student on work experience in the re-vamped plot of The Impresario, she gave a delicious display of feminine wiles and cunning in manipulating the hapless management to her own ends. Her delightful and characterful assumption of Auretta in L’Oca makes me keen to see what she would make of Susanna and Despina in full-blown Da Ponte/Mozart.’ (Music & Vision, 20 September 2002, David Thompson)
- ‘Watching … soprano Amanda Pitt is a bit like seeing The Beano recycled as opera. On form, it’s a hoot.’ (The Independent, 23 September 2002, Roderic Dunnett)
Eugenia (Lo Sposo Deluso/The Deluded Bridegroom) in Bampton Classical Opera’s production ‘Waiting for Figaro’,
- ‘Pitt … mastered the role at Bampton’s outdoor première beautifully …’ (The Independent, Roderic Dunnett)