“Idamante benefits from the distinguished musicality of Samuel Boden,”
Diapason, 27 September 2021
“Samuel Boden’s Idamante is touched by grace… the British artist lives his role with a crazy naturalness, restoring both the worried tenderness of the son and the distress of the lover. “
Forum Opera, 27 September 2021
“… Samuel Boden’s Idamante, whose clear voice is that of the French haute-contres and whose articulation is irreproachable”
Concert Classic, 24 September 2021
“Tenor Samuel Boden sang as sweetly as the birds admired by his romantic interest Johanna”
Opera Now, January 2020
“As an opera critic with a certain orientation towards pre-modern times, I was excited to hear the young British tenor Samuel Boden in the role of the young and charming sailor Anthony Hope. Boden is one of today’s finest exponents of the wonderfully peculiar voice type, haute contre , a very bright tenor voice found mostly within French 18th-century opera. It was fun then to hear Boden sing in a 1979 musical with the greatest of course.”
NRK, 7 November 2019
“Well known haute-contre tenor Samuel Boden gives us a lesson in phrasing, with the usual elegance ..”
Forum Opera, 21 November 2019
“Samuel Boden offers us a Jonathan, generous, loving. … The voice is agile, flexible and gives its full measure in the recitatives as in the following arias, “Sin not, O King” with the two bassoons, in particular.”
ForumOpera, 6 July 2019
“Samuel Boden gives Jonathan, the unhappy hero caught between his duty and his feelings, the appropriate disturbed delicacy, supported by his elegiac tenor voice.”
ConcertClassic.Com, 6 July 2019
“Peter Hoare imposes a Mortimer of biting lines and vindictive force, which contrasts with the ethereal timbre of Samuel Boden, the heir.”
Toute la Culture, 3 June 2019
“The impotence of the king’s son is aptly diffused through the clear timbre of Samuel Boden.“
Resmusica, 30 May 2019
“the Young Boy, then the young King, are superbly incarnated by the tenor Samuel Boden, whose voice, always at ease in the crystalline high notes and excellently projected, is an object of permanent delight.”
Classique News, 25 May 2019
“Samuel Boden plays the Boy and Young King with a clear and bright timbre gaining confidence in parallel with his character, at first naive and innocent, then putting aside his doubts once the crown is on his head to avenge his father.”
Opera Online, 20 May 2019
“The tenor Samuel Boden embodies with accuracy and talent, the flexibility and vivacity of his acting, with clear top notes and excellent projection, the character of the Boy, then the Young King”
Forum Opéra, 20 May 2019
“A beautiful lyric tenor, Samuel Boden, was heard in the role of the young king.”
Online Merker, 18 May 2019
“Samuel Boden excels as a Young King in a clear and well-timed voice and translates his passage from innocent childhood to the conscious adult of his power.”
ODB-Opéra, 18 May 2019
“And Samuel Boden seems to be watching his development from the crown prince to the hard-hitting king with almost childlike innocence from afar. Vocally as enthralling as the whole ensemble.”
O-Ton, 16 May 2019
“The tenor Samuel Boden is the young boy, with a soft and clear voice, deliberately innocent and naive, nevertheless sufficiently projected, then gaining confidence in the final scene, where he became a Young King avenging his father and making up for his mistakes by banishing music, while keeping his youthful freshness.”
Olyrix, 15 May 2019
“Samuel Boden remain[s] outstanding”
Classica, May 2019
“Samuel Boden does so with bright high pitched tenor, an angelic voice that exudes innocence and reports with icy coldness of the brutal torture and the shooting of Mortimer”
Oper Aktuell, 18 April 2019
“With his mellifluous tenor, and evidently very comfortable in the high register … Samuel Boden is as ready to inhabit the youth of the Son as to shed his psychological skin in the compelling finale where he asserts his power by avenging the death of a father whose body is still warm. ”
Forum Opera, 7 April 2019