Category: REVIEWS

Handel: Saul – Beaune 

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“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

Larcher: The Hunting Gun – Aldeburgh Festival 2019

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“As the Poet, Samuel Boden channels the quartet’s agonies while standing apart from the action, and his tenor is heard at its most eloquent.” ClassicalSource.com, 7th June 2019 “Samuel Boden gave a solid interpretation of the Poet.”Financial Times, 11 June 2019 “The opera was extremely well cast and acted in a slow and minimalist sort of way. Samuel Boden (Poet) looked the part from head to toe not only by his style and dress but also by his actions.” Planet Hugill, 13th June 2019 “Samuel Boden …[was] in all respects first class …”The Observer, 15 June 2019

Benjamin: Lessons in love and Violence – Opéra de Lyon

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“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...

Benjamin: Lessons in love and Violence – Hamburg

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“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