Category Archives: REVIEWS

Benjamin: Lessons in love and Violence – Hamburg

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

Benjamin: Lessons in Love and Violence – Royal Opera House

Samuel Boden as Boy/Young King, Barrington-Cook and Barbara Hannigan – Lessons in Love and Violence: ROH May 2018. Photo by Stephen Cummiskece

“…one can only admire the valiant ensemble performance, with…tenor Samuel Boden’s pure-toned royal successor…making the most of [his] very demanding part…”
Independent, 11th May 2018

Samuel Boden makes a pivotal contribution as the Boy”
What’s on Stage, 11th May 2018

“For the cast, I have nothing but praise:…Sam Boden makes his mark as the boy king with a nasty surprise up his royal sleeve.”
The Telegraph, 11th May 2018

Samuel Boden is inspired casting as the Boy, growing up to be King.”
Financial Times, 11th January 2018

Samuel Boden as Boy/Young King, Barrington-Cook, Stéphane Degout and Barbara Hannigan in ‘Lessons in Love and Violence’: ROH May 2018. Photo by Stephen Cummiskece

“…Edward III is initially the Boy and later the Young King (sympathetically realised by Samuel Boden).”
The Stage, 11th May 2018

Samuel Boden is firm yet delicate as the Boy/Young King.”
The Guardian, 19th May 2018

“The son, gracefully sung by tenor Samuel Boden, is clearly intended to be Edward III but is here named “Boy/Young King,”
Opera News, 10th October 2018

Monteverdi: The Return of Ulysses – Royal Opera House / Roundhouse

Samuel Boden as Telemachus: ROH / Roundhouse, January 2018. Photo by Stephen Cummiskey

“there are some unforgettable moments from a very strong cast…Samuel Boden’s sweet-toned Telemachus careering round the stage on a tandem while singing divinely.”
Independent, 11th January 2018

Samuel Boden turns in a great performance as Ulysses’s nimble son Telemachus, disaffected under headphones, obsessed with Helen of Troy.”
Culture Whisper, 11th January 2018

“The headphone-toting Telemachus, Samuel Boden, was striking both visually and vocally.”
Seen and Heard International, 12th January 2018

“The Telemachus here, Samuel Boden, was touching, vulnerable”
What’s On Stage, 11th January 2018

“The production is well cast…Samuel Boden’s youthful Telemachus is the most skilled at the decorative Baroque style.”
The Financial Times, 11th January 2018

“What luxury, though, to have five superb tenors of various ilks, [with the] young Samuel Boden as Telemachus” ”, 11th January 2018

Samuel Boden as Telemachus, Roderick Williams as Ulysses and Mark Milhofer as Eumaeus: The Guardian, January 2018. Photograph: Tristram Kenton

Samuel Boden showing huge controlled energy and anger as his son Telemachus, the finest specimen of youthful masculinity to be seen on any stage.”
Mark Ronan, 11th January 2018

“It’s exciting to see the Royal Opera…casting charismatic young singers such as Boden.”
The Times, 12th January 2018

Samuel Boden was lovely as the petulant and passionate Telemachus.”
Schmopera, 14th January 2018

“As Telemachus, Samuel Boden both looked and sounded good, his flexibly tenor voice exactly suiting the role, and his well-put-together torso (bare) clearly hinting at the character’s military training. Boden’s Telemachus was also clearly damaged, and never seemed to quite recover.”
Planet Hugill, 14th January 2018

Samuel Boden’s Telemachus provided much fine singing and committed characterization.”
MusicOMH, 14th January 2018

“…throughout the show, in Samuel Boden’s brightly sung performance, he’s been the embodiment of sunny assurance, striding about bare-chested in a blond wig as he gives his mother far too much information about Helen of Troy.”
The Spectator, 20th January 2018