Indonesian-American soprano Amanda Densmoor has delighted audiences across the United States and Southeast Asia. The 2024/2025 season will see her debut with Aula Simfonia Jakarta in Jakarta, Indonesia, as the Soprano II soloist in Mendelssohn’s Elijah and a return to Annapolis Opera as Girl/1st Trio Member in Bernstein’s Trouble in Tahiti. Recently, Amanda was seen as Papagena in Die Zauberflöte and as one of the bridesmaids in Le nozze di Figaro with Annapolis Opera, as the soprano soloist in Carmina Burana with the Manassas Ballet Theatre, and as Bella/Juliette in Bel Cantanti Opera’s Franz Lehár Operetta Gala.

With the Maryland Opera Studio, Amanda performed the roles of the Queen of the Night (Die Zauberflöte) and Valentina Scarcella (Later the Same Evening), and covered Dalinda (Ariodante) and Barbarina (Le nozze di Figaro). Other roles include Servilia (La clemenza di Tito), Nella (Gianni Schicchi), Suor Genovieffa (Suor Angelica), Patience (Patience), Counsel (Trial by Jury), Second Woman (Dido and Aeneas), and Kate (The Pirates of Penzance). As a concert soloist, Amanda has sung solos in Carissimi’s Jephte, Haydn’s Missa in Angustiis, Fauré’s Requiem, and Mozart’s Requiem. Amanda is passionate about new music, and has premiered the roles of Mother in Joseph C. Phillip Jr.’s Four Freedoms, and Meera in Omar Najmi’s This Is Not That Dawn.

Equally at home as a choral singer, Amanda has sung many large choral works with the National Symphony Orchestra and the Baltimore Symphony Orchestra. Amanda has also sung as a soprano chorister with the Washington National Cathedral, the Basilica of the National Shrine of the Immaculate Conception, The Thirteen, and Lux Choir. Highlights of her choral repertoire include Mozart's Requiem, Brahms' Requiem, Holst's The Planets, Rossini's Stabat Mater, Liszt's Dante Symphony, Bernstein's Chichester Psalms and Kaddish, Talbot's Path of Miracles, and the world premiere of Roxanna Panufnik's Across the Line of Dreams.

Amanda earned her Master of Music from the Maryland Opera Studio, and earned her Bachelor of Music in Vocal Performance, summa cum laude, from the University of Maryland.

Le réveil de la marié

Réveille-toi, réveille-toi, perdrix mignonne.
Ouvre au matin tes ailes.
Trois grains de beauté mon cœur en est brûlé!
Vois le ruban, le ruban d'or que je t'apporte
pour le nouer autour de tes cheveux.
Si tu veux, ma belle, viens nous marier!
Dans nos deux familles tous sont alliés!

Là-bas, vers l'église...

Là-bas, vers l'église,
vers l'église Ayio Sidéro,
l'église, O Vierge sainte,
l'église Ayio Costanndino,
se sont réuinis,
rassemblés en nombre infini,
du monde, O Vierge sainte,
du monde tous les plus braves!

Quel galant m'est comparable...

Quel galant m'est comparable
d'entre ceux qu'on voit passer?
Dis dame Vassiliki?
Vois, pendus à ma ceinture,
pistolets et sabre aigu...
Et c'est toi que j'aime!

Chanson des cueilleuses de lentisques

O joie de mon âme,
joie de mon cœur,
trésor qui m'est si cher;
joie de l'âme et du cœur,
toi j'aime ardemment,
tu es plus beau qu'un ange.
O lorsque tu parais,
ange si doux devant nos yeux,
comme un bel ange blond,
sous un clair soleil,
Hélas! tous nos pauvres cœurs soupirent!

Tout gai!

Tout gai, gai, ha, tout gai!
Belle jambe, tireli, qui danse;
belle jambe, la vaisselle danse,
tra-la-la-la-la!

The awakening of the bride

Wake up, wake up, sweet little partridge.
Open up your wings to the morning.
By three beauty spots my heart is burnt!
See the ribbon, the golden ribbon which I bring you
to tie around your hair.
If you like, my fairest, come let us be married!
In our two families all are united!

Over there, by the church...

Over there, by the church,
by the church Ayio Sidero,
the church, o holy Virgin,
the church Ayio Costanndino,
have assembled,
gathered together in countless numbers,
people, o holy Virgin,
all the very bravest people!

What gallant compares with me...

What gallant compares with me
among those one sees passing by?
Tell me, Mistress Vassiliki?
See, hung from my belt,
pistols and sharp sword...
And it is you whom I love!

Song of the lentisk pickers

O joy of my soul,
joy of my heart,
treasure who are so dear to me;
joy of the soul and the heart,
you whom I love fervently,
you are more handsome than an angel.
O when you appear,
angel so sweet before our eyes,
like a handsome blond angel,
beneath a bright sun,
alas, all our poor hearts sigh!

All gay!

All gay, gay, ha, all gay!
Pretty leg, tireli, which dances;
pretty leg, the dishes dance,
tra-la-la-la-la!

-trans. Christopher Goldsack

I.

Tout ce qu’un grand artiste peut concevoir,
le marbre le renferme en son sein;
mais il n’y a qu’une main obéissante à la
penseée qui puisse l’en faire éclore.

De même, tu recèles en toi, beauté,
fière et divine, et le mal que je fuis et le bien que je cherche;
mais l’effet de mes soins est contraire à mes voeux,
et c’est ce qui me donne la mort.

Je n’accuserai donc de mes maux ni le hasard,
ni l’amour, nit es rigueurs, nit es dédains,
ni le sort, nit es charmes,

Quand tu m’offres à la fois, dans ton couer,
la mort avec la vie et que mon génie impuissant
ne sait y puiser que la mort.

II.

Vos beaux yeux me font voir une douce lumière
don’t mes regards voiles n’auraient jamais pu jouir

votre appui soutient ma faiblesse sous le poids inaccoutumé de l’amour.

C’est vous qui me donnez l’essor; c’est votre génie qui m’élève incessament vers le ciel.

Faible, abattu, ou plein d’énergie et de force, je suis, à votre gré, brûlant au milieu des frimas, ou glacé sous les feux de l’été.

Je n’ai dua’tre volon, té que la vôtre; je puise mes pensées dans votre ame, mes expressions dans votre esprit.

III.

Fuyez, amants, fuyez l’amour, et ses ardeurs;
sa flamme est âpre; sa blessure mortelle.
Qui ne le fuit soudain lui opposera vainement
plus tard le courage et la force, l’absence et la raison.

Fuyez, que le trait mortel qui m’a frappé,
ne soit pas pour vous une sterile leçon.
Voyez en moi les maux qui vous attentdent,
et combine sont barbares les jeux de cet enfant.

Fuyezle sans tarder, fuyez dès le premiere regard.
Je crus pouvoir en tout temps obtentir de lui le repos.
Hélas! Voyez maintenant le feu qui me dévore.

Insensé ce lui qui violemement épris d’une séduisante beauté,
égaré par de trompeurs désirs, ferme l’oreille et les yeux à son
propre bonheur, pour courir au devant des traits
empoisonnés de l’amour.

I.

The marble not yet carved can hold the form
Of every thought the greatest artist has,
and no conception ever, comes to pass
Unless the hand obeys the intellect.

The evil that I fly from, all the harm,
The good as well, are buried and intact
In you, proud Lady. To my life’s sad loss
My art's opposed to the desired effect.

Thus love, and your own, beauty and the weight
Of things, are not to blame for my own plight.
Fate, scorn or chance can never be accused

Because both death and pity are enclosed
Within your heart, and I-have only breath
And power to draw from you not life but death.

II.

With your lovely eyes I see a sweet light
that yet with my blind ones I cannot see;

with your feet I carry a weight on my back which with my lame ones I cannot;

with your wings I, wingless, fly; with your spirit I move forever heavenward;

at your wish I blush or turn pale, cold in the sunshine, or hot in the coldest midwinter.

My will is in your will alone, my thoughts are born in your heart, my words are on your breath.

III.

Flee love, lovers flee the conflagration;
the burning is harsh and the plague is mortal,
so first impulses have no more value,
neither force, nor reason, nor to change location.

Flee, now you have no small demonstration
of a fierce arm and an arrow’s sharpness;
read in me, what will be your sickness,
what will be your employment and pitless recreation.

Flee, and don’t delay, at the first glance:
for I thought to have accord at every chance;
alas, now I realize, and you see how I blaze.

Foolish is he who, violently in love with a seductive beauty,
misled by deceptive desires, closes his ears and eyes
to his own happiness, to run to meet the
poisonous arrows of love.