“Idamante benefits from the distinguished musicality of Samuel Boden,”Diapason, 27 September 2021 “Samuel Boden’s Idamante is touched by grace… the British artist lives his role with a crazy naturalness, restoring both the worried tenderness of the son and the distress of the lover. “Forum Opera, 27 September 2021 “… Samuel Boden’s Idamante, whose clear voice is that of the French haute-contres and whose articulation is irreproachable”Concert Classic, 24 September 2021
“Tenor Boden vigorously expresses his human recklessness.” Theaterkrant, 26th January 2020 “Tenor Samuel Boden is an intimate, convincing Orfeo…★★★★” NRC.nl, 26th January 2020 “The demanding title role was excellently played by tenor Samuel Boden. Assisted by Ego, he managed to put his changing moods in the spotlight. Beautifully sung, well acted.” Place de l’Opera, 27th January 2020 “The tenor Samuel Boden has a well-kept dictation and effortlessly sings the sometimes difficult twists that Monteverdi puts into his mouth. – Even when the choir lifts [him] up and carries [him] across the stage.” Cultureelpers Bureau, 27th January 2020 “Samuel Boden (Orfeo) makes a big...
“Tenor Samuel Boden sang as sweetly as the birds admired by his romantic interest Johanna”Opera Now, January 2020 “As an opera critic with a certain orientation towards pre-modern times, I was excited to hear the young British tenor Samuel Boden in the role of the young and charming sailor Anthony Hope. Boden is one of today’s finest exponents of the wonderfully peculiar voice type, haute contre , a very bright tenor voice found mostly within French 18th-century opera. It was fun then to hear Boden sing in a 1979 musical with the greatest of course.”NRK, 7 November 2019
“Well known haute-contre tenor Samuel Boden gives us a lesson in phrasing, with the usual elegance ..”Forum Opera, 21 November 2019
“Samuel Boden’s tenor was gorgeously golden…★★★★” Bachtrack, 24th August 2019
“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
