“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
“…Samuel Boden’s sweetly eloquent ‘Audi coelum’ (with sensitive echoes from Benedict Hymas) are exceptionally beautiful.”Gramophone May 2018
“Samuel Boden: ‘perfect for Blow’s vivid vocal lines’.”The Observer, 8 October 2017
“His youngish soloists are equally fine, French mezzo Michele Losier sweetly appealing, Samuel Boden impishly fluent.”ClassicalMusic.com, 28 September 2017 “[Boden] …despatched his promise of Mab, queen of dreams, in a spot-on flash “The Arts Desk, 23 January 2016
“Displaying elegant phrasing and good dynamic control, [Samuel Boden] captured the slow-burning intensity of Pigmalion’s love for his creation.”The Australian, 19 June 2017 “Samuel Boden looks like a fairy tale prince and has a limpid, languishing aria at the beginning bemoaning his love for the inanimate sculpture he has created. His voice is perhaps light but it is a performance of great virtuosity”Performing Arts Hub, 19 June 2017 “Tenor Samuel Boden is Pigmalion, the sculptor who creates a statue so beautiful he falls in love with it, only to have it come to life. He brings an exquisitely crafted, nuanced sound to the role, offset...
“A strong quartet of soloists move through the seasons… Samuel Bodensensuous, Brittenish summer.“Gramophone, February 2016
