“…you’d be a fool to stage it without the eponymous tenor who can both sing and act what can sometimes seem impossible. Samuel Boden is the perfect Platée, not only in his agile, confident management of the role’s vocal twists and turns, but also in his athletic prowess, with one particularly impressive display – no chance of seeing Jonas Kaufmann doing that one!”
Music OMH, 30th May 2024 ★★★★★
“Into all this tawdry glamour steps Samuel Boden as Platée, ridiculous in green bathing suit, green wig and frog flippers. It’s a hugely taxing part composed for the high, virtuoso tenor that was a speciality of French opera, which Boden projects with considerable grace and musical sensitivity even while being forced to join in the beach antics with the marsh nymphs, at one point even walking on his hands. Not many French Baroque tenors could pull that off.”
The Telegraph, 30th May 2024 ★★★★
“The title role of the female nymph is sung by tenor Samuel Boden…his tireless textual and physical commitment to Platée’s cause –including hand-standing his way across the stage at one point – proves consistently engaging, and at times deeply moving”
The Stage, 30th May 2024 ★★★★
“At the centre of it all…was a captivating performance by Samuel Boden. His Platée went from an also-ran in a swimwear contest (1950s swim cap, flippers, goggles), to a clown-style makeover for her “wedding”. Yet Boden’s singing was rarely cartoonish. His high register was beautiful – his rare lyrical moments achingly so – even while he flopped and tumbled on stage”
The Guardian, 30th May 2024 ★★★
“Samuel Boden is a gentle, agile Platée”
The Times, 30th May 2024 ★★★★
“Samuel Boden sang the role creditably and acted it superbly”
Bachtrack, 30th May 2024 ★★★
“British tenor Samuel Boden is brilliant as the tragi-comic figure of Platée. Donning a series of ridiculous costumes his voice is that of a classic lyric tenor, mellifluous and sweet sounding, whilst eating up the high notes and complex semiquaver patterns of Rameau’s melodies as he milks the comedy in heels and a very silly peacock outfit.”
London Unattached, 30th May 2024
“…the man now singing that role is Samuel Boden, possessor of one of the most versatile tenor voices in the world… Boden’s portrayal of the central character is not just camp: vocally and physically he has the chameleon ability to charm the birds off the trees.”
iNews, 31st May 2024 ★★★★
“The master stroke is the casting of tenor Samuel Boden as Platée. With his neat physique and charming voice, he gives us a Platée who is more likeable than anyone else on stage, however entertained we may be by the rest.”
Culture Whisper, 31st May 2024 ★★★★
“The evening’s accolade goes to tenor Samuel Boden as poor, put-upon Platée, first for his elegant singing and second for his willingness to don a series of lurid green dresses.”
Financial Times, 31st May 2024 ★★★
“Rameau casts the part for a high tenor in drag, and Samuel Boden excels in a series of outrageous costumes by designer Christopher Oram: green sparkly swimsuit with matching flippers; peacock-tailed tutu; over-the-top wedding dress.”
The Guardian, 1st June 2024 ★★★★
“At the centre of the action is Samuel Boden in the title role. He finds a wide palette of moods, and sings expertly despite being put through his physical paces. Moreover, by playing the role straight rather than for obvious laughs he is both funnier and more poignant.”
Plays to See, 2nd June 2024 ★★★★★
“Sam Boden, in the title role, excels as the deluded water nymph who believes Jupiter has truly fallen for her. Dressed in a ludicrously bright peacock costume with clown-style make-up, Boden’s charmingly sweet voice and fantastic vocal technique impress and the audience warms to this misguided creature with her peculiar mix of arrogance and vulnerability.”
Henley Standard, 24th June 2024
“The absurdity of the nymph is captured by a series of magnificent costumes, worn with aplomb by Samuel Boden. The sweetness and precision of Boden’s voice are coupled with a wonderful sense of acting, navigating with brio the different aspects of the character’s nymphomaniac behaviour. The British tenor indulges in sophisticated lamentations, sighs, and strange noises, directly informed by his past experience dealing with a complex French baroque repertoire.”
The Critic, 21st July 2024