British tenor Samuel Boden has developed an international opera and concert career with particular success in the fields of early and contemporary music. He is a highly-regarded interpreter of Monteverdi, Bach, Handel, the French baroque as well as Britten.
Recent highlights include creating the roles of Boy and Young King in George Benjamin Lessons in love and violence at the Royal Opera House, Covent Garden followed by performances at the Dutch National Opera, Hamburg State Opera, Opéra de Lyon and Gran Teatre del Liceu Barcelona, as well as the title roles of Monteverdi L’Orfeo and Gluck Orphée et Euridyce for the Nederlandse Reisopera and Idamante in Campra Idoménée for Opéra de Lille.
He has sung several of the Rameau and Charpentier haute-contre parts as well as Cavalli L’Ormindo. Other roles include Oronte Alcina at the Karlsruhe Handel Festival, Poet in Thomas Larcher The Hunting Gun at Aldeburgh Festival, Anthony Sweeney Todd for Bergen National Opera and the title role Acis & Galatea at the Buxton Festival.
Samuel regularly appears with the foremost period ensembles: Collegium Vocale Gent under Philippe Herreweghe, Le Concert d’Astrée with Emmanuelle Haïm, Les Arts Florissants and William Christie, Les Musiciens du Louvre with Marc Minkowski and Wiener Akademie with Martin Haselböck.
He has also worked with the Bavarian Radio Symphony, Scottish Chamber, BBC Symphony, and Frankfurt Radio Orchestras plus the Salzburg Camerata and the Rotterdam Philharmonic.
Samuel’s growing discography includes Berlioz Roméo et Juliette with the BBC Symphony Orchestra / Sir Andrew Davis and discs of Monteverdi, Charpentier, Daniel Purcell, Rameau, Bach, Blow alongside Tansy Davies, Alec Roth and George Benjamin.
Samuel Boden began his career as a chef and went on to study singing at Trinity Laban Conservatoire.
His plans include his début at the Staatsoper Under den Linden, Berlin as well as engagements with the Wiener Akademie, Freiburg Baroque Orchestra, Arcangelo and Collegium Vocale, Gent.
Samuel Boden is represented for General Management. For all enquiries please contact Caroline Phillips firstname.lastname@example.org
Monteverdi L’Orfeo – Nederlandse Reisopera
With his flexible tenor and athletic posture, Samuel Boden proved a perfect fit for the role of Orfeo, offering unfailingly stylish singing in the midst of the demanding choreographed moves. His honeyed timbre and the way he audibly relished the text made the plaintive lyricism of the role most moving.
Bachtrack, 12 February 2020
With accuracy and talent the tenor Samuel Boden embodies the character of the Boy, then the Young King with the flexibility and vivacity of his acting, clear top notes and excellent projection,
Forum Opéra, 20 May 2019
George Benjamin Lessons in love and Violence – Royal Opera House & Holland Festival
Samuel Boden is inspired casting as the Boy, growing up to be King
Financial Times, 11 May 2018
… lustrous honeyed lines in the final scenes for the high-tenor role of the Son (who becomes Edward III), beautifully delivered by Samuel Boden.
The Guardian, 11 May 2018
The boy (Edward III – though no historical names are used) is the most memorable performer in the opera and a real achievement by Samuel Boden.
Critics Circle, 23 May 2018
Rameau Pigmalion – Pinchgut Opera
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 by the sound of the two flutes, who have plenty to do in Rameau’s score. Boden gives a detailed, polished account of Rameau’s florid vocal lines.
Limelight Magazine, 16 June 2017
Britten Serenade for Tenor, Horn & Strings – Salzburg Camerata
As a native speaker and brilliant interpreter of texts, Boden is uniquely qualified to convey these complex and evocative lyrics … he revealed intensely moving layers of diverse colours and emotions.
Kulturpunkt, 11 October 2016
Bach Academy of Ancient Music / Howarth
Best of all, Samuel Boden’s classic, appealing tenor finally shone out in Qui tollis peccata mundi, with perfect projection and diction enabled by supple strength right through his range, in an account at once sincere and affecting.
Bachtrack, 11 April 2017
Gluck Orphée et Eurydice – Nederlandse Reisopera
The choice of the young British tenor Samuel Boden as Orphée is excellent
Opera Magazine nl (trans), 4 May 2015
And what a tenor! The enormous part, full of nuances, was beautifully sung by Samuel Boden.
Theaterkrant.nl (trans), 3 May 2015
British tenor Samuel Boden is perfectly cast as Orpheus: not only does he have a wonderful timbre , but he also brings to the fore the changing moods of the title hero with great conviction.
Cultureel Persbureau (trans), 2 May 2015
Charpentier La déscente d’Orphée aux enfers – Le Concert d’Astrée
Orphée, sung by Samuel Boden, is outstanding. His vocal colour, perfect diction and exceptional phrasing are spot on.
Forum Opera (trans), 19 March 2015
Rameau Les Boréades – Aix-en-Provence Festival
Samuel Boden , Abaris … A beautiful tenor voice, flexible and powerful
Destimed 19 July 2014
British tenor Samuel Boden … achieves a personal triumph thanks to his clear, bright timbre, stylistic intelligence, his admirable clarity of diction and his flawless virtuosity.
Opera Online, 21 July 2014
Cavalli L’Ormindo The Royal Opera at the Sam Wanamaker Playhouse
…led by the vocally remarkable Sam Boden in the title role.
New York Times, 1 April 2014
Boden displayed a beautiful limpid tone and line totally in keeping with his character.
Opera Today, 30 March 2014
Samuel Boden’s dreamy Ormindo.
The Guardian , 26 March 14
Sondheim Sweeney Todd – Bergen
Tenor Samuel Boden sang as sweetly as the birds admired by his romantic interest Johanna
Opera Now, January 2020
Thomas Larcher The Hunting Gun – Aldeburgh Festival
Samuel Boden …[was] in all respects first class …
The Observer, 15 June 2019
George Benjamin Lessons in love and Violence – Opéra de Lyon
the Young Boy, then the young King, are superbly incarnated by the tenor Samuel Boden, whose voice, always at ease in the crystalline high notes and excellently projected, is an object of permanent delight.
Classique News, 25 May 2019