“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
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
I have been featured in an article written by Clare Colvin for Express in which we discuss the role of Boy / Young King which George Benjamin created for me in his latest opera Lessons in Love and Violence. The piece will premier at the Royal Opera House on 10th May 2018.
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”
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TheArtsDesk.com, 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
Orphée et Eurydice has been voted Opera of the Year 2015 by the readers of Dutch magazine Place de l’Opera. The production received more than half of the hundreds of votes that were released last week.
There were five productions nominated for Opera of the Year 2015, compiled on the basis of the “top 3” lists of 16 opera critics. Four of them had Orphée et Eurydice as their number one choice. Here are the final results:
1. Orphée et Eurydice (Dutch Touring Opera)
2. Lohengrin (Royal Concertgebouw Orchestra)
3. Dialogues des Carmelites (National Opera)
4. Benvenuto Cellini (National Opera)
5. Der Rosenkavalier (The National Opera)
“The editors of Place de l’Opera congratulate the Dutch Touring Opera, the Symphony Orchestra, Consensus Vocalis, Floris Visser, his artistic team, conductor Roger Hamilton, the soloists Samuel Boden, Kristina Bitenc, Hanna Herfurtner and Bernadeta Astari and all others involved with the success of this production and the impressive way in which the presentation demonstrated the power of opera.”
At a later date the editors will hand over the award of Opera of the Year 2015 in person.
The full article can be found on Place de l’Opera‘s website here.
