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Anna Samuil

  • Soprano


Anna Samuil press reviews

Don Giovanni, Glyndebourne Festival Opera July 2010

The singers perform with vigour and Anna Samuil as Donna Anna almost steals the show with her beautifully clear and powerful voice.
William Hartston for the Daily Express

...and the best singing of the night from Anna Samuil's luscious Donna Anna.
David Gillard for the Daily Mail

Anna Samuil possesses a rich, substantial tone, well deployed in Donna Anna’s arias
George Hall for The Stage
Anna Samuil – a touch of wildness in the vocal temperament - made quite a fist of Donna Anna’s challenging “Non mi dir”.
Edward Seckerson for the Independent

Anna Samuil's Donna Anna saved up everything for her final aria, which paid off in her solid coloratura passages
Paul Levy for the Wall Street Journal

Entre las intérpretes [...] brillan sobre todo las rusas Anna Samuil y Anna Virovlansky en sus respectivos roles de Doña Ana y Zerlina, respectivamente

Anna Samuil (Donna Anna) was considerably more gutsy, with a voice that carried much better than the others
Jonathan Wikeley for

Don Giovanni, Hamburg State Opera, January 2010

Anna SAMUIL, der einzige und erst am gleichen Tag eingesprungene Gast, die sich dennoch nahtlos ins Ensemble fügte, lief zu keiner Sekunde Gefahr, aus ihrer Namensschwester eine Trauerweide zu machen. Da befand sich eine entschlossene Frau auf der Bühne, die weiß, was sie will. Sie ist den Koloraturen mehr als gewachsen und schafft es, auch noch dem virtuosesten Lauf mit Leben zu füllen, anstatt ihn nur technisch zu bewältigen. Michaela Koch for

Eugene Onegin, Pittsburgh October 2009

Singers triumph in Pittsburgh Opera's 'Onegin'
From the moment soprano Anna Samuil began singing, the performance hit its groove. She was a wonderful Tatiana. Samuil offered a brilliant, dramatically fluent performance of the Letter Scene, in which she professes her love to Onegin. Samuil's mixture of vocal acting and body language was complete, while her vocal line was so clear and clean it was breathtaking. She fully conveyed the distance Tatiana travels to overcome fear and find the excitement of romantic
Samuil and Croft achieved great intensity in their final scene, . Samuil's triumph in the role was completed in this scene, in which she was not a tower of strength but rather was strong in the face of real temptation.
Pittsburgh Opera's production of "Eugene Onegin" is not to be missed, issues with the sets fade quickly in the presence of great singing.
Mark Kanny, Pittsburg Tribune


A Russian delegation of one held her own summit at the Benedum Center Saturday night as soprano Anna Samuil put on a remarkable performance in Pittsburgh Opera's production of Pyotr Illyich Tchaikovsky's "Eugene Onegin."
Samuil was brilliant in her debut, moving from a girlish to a regal Tatiana while always singing with an elegant energy to the notes. And what commitment to her role! She was almost more convincing when not singing, from downward-cast shyness to barely held back tears when Onegin first rejects her.
By Andrew Druckenbrod for  Pittsburgh Post-Gazette 
Don Giovanni concert, Verbier Festival 2009


In any case, the evening offered little if any cause for regret, thanks both to dramatically charged performances from Anna Samuil (Anna) and Annette Dasch (Elvira), each in compelling voice, and to the superb quality of the rest of the cast.
George Loomis, MusicalAmerica George


En ce qui concerne la partie féminine de la distribution, notre coup de cœur va à la jeune Sylvia Schwartz qui incarne une Zerlina à croquer. Les Donna Anna et Elvira d’Anna Samuil et d’Annette Dasch exercent un pouvoir de séduction vocal incomparable. Une plateau de grands chanteurs qui se déplacent avec aisance dans leurs rôles respectifs. Du pur plaisir. La longue standing ovation qui conclut le concert et les acclamations du public pour chaque chanteur montrent à quel point l’assistance est comblée. A juste titre.
Nicolas Derny, Forum Opera


Engagées il y a deux ans, les stars Edita Gruberova et Susan Graham avaient annulé quatre jours avant le concert, mais qu'à cela ne tienne : Martin Engstroem, fondateur de la manifestation suisse, ne panique jamais, la soirée fut sauvée par Anna Samuil, Donna Anna percutante et dramatique, d'une densité vocale très physique, et Annette Dasch, Elvire plus discrète.
le figaro 

Kissinger Sommer Gala Concert 2009


Durchaus graziös gestaltete Anna Samuil die Juwelen-Arie der Margarete, schilderte anrührend den inneren Kampf Violettas zwischen der Liebessehnsucht und berauschender Lust und erging sich in perlenden Koloraturen bei Juliettes Walzer
C. A. Brandner, Fuldaer Zeitung 17.07.2009 Anna Samuil beeindruckt mit großartiger Stimme Charme, schauspielerischen Finessen und Humor
Ursula Lippold, Main Post 17.07.2009

Don Giovanni, concert tour of Israel
Of the female voices, Anna Samuil was the most prominent as Donna Anna, as expected...her voice was by far the best, coupled with fantastic characterisation and acting, altogether making for a very convincing performance. Her last aria "Non mi dir" was a climax of emotion and beauty.
"Globs", Mainly Music,28.1.2009"


Professionalism characterized all the singers, but perhaps most of all Anna Samuil as Donna Anna - her recitative; in which she tells of how she was raped by Don Giovanni and later the duel in which he murdered her father; was sung as one of the most mesmerising solos ever heard here
Noam Ben Zeev, "Ha' Aretz", 28.1.2009."


Zubin Mehta's staging of Don Giovanni manages to bring to life a concert production full of young and fresh voces, full of professionalism and beuaty...I was enchanted by the singing of Anna Samuil (Donna Anna) and her grand and beautiful voice
Ora Binur, "Maariv", 29.1.2009.

Eugen Onegin, Berliner Staatsoper September 2008


Daniel Barenboim
Highlights are the Love duets between Onegin and Tatiana (deeply moving the star-soprano Anna Samuil). The audience rewarded these brilliant singers and musicians with a hurricane like applause.
Hans-Werner Marquardt, Berliner Zeitung 28.09.2008


Anna Samuil sings the letter scene in a very touching manner, full of lyrical and subtle efflorescent beauty.
Christa Hasselhorst, Kölnische Rundschau 30.09.2008 


Anna Samuil as an ideal Tatiana par excellence, who can combine youthfulness and deep passion seamlessly
Irene Constantin, Neues Deutschland, 29.09.2008


Anna Samuil is singing the Tatiana with a very vulnerable nature. You can take her into your heart. Which was an exception this evening.
Volker Blech, Berliner Morgenpost,29.09.2008


Anna Samuil brought just the right mixture of passion and innocence to the role of Tatiana.
Shirley Apthorp,Bloomberg,29.9.08




Eugene Onegin Salzburg Festival 2007 DVD 


Andrea Breth/ Daniel Barenboim
DG *****
At the 2007 Salzburg festival Tchaikovsky's opera received one of the most stimulating performances I have had the pleasure to witness. It now comes up just as vividly on DVD. This is patently a "concept" production but one so brilliantly worked out and intimately characterised that you can't help re-evaluating the piece. In Breth's updated scenario the women take the initiative, the men are boors and wimps. Anna Samuil's Tatiana more than fills Breth's demands, not least in her typewritten letter scene. Peter Mattei's Onegin is a modern alpha male, meltingly sung, while Ferruccio Furlanetto brings the house down with Gremin's aria. Barenboim and the Vienna Philharmonic sets the seal on an interpretation that even opponents of "Eurotrash" will find hard to resist.
Andrew Clark for The Financial Times, August 30 2008




L'Elisir d'Amor (Adina) - Berlin Staatsoper 


There was a huge applause on Friday night at the Staatsoper Berlin: Anna Samuil had just sung for two hours the Adina with a crystal clear soprano and a wonderful stage presence. Following to her performance that evening she was rewarded with the Daphne-prize (...) Ms Samuil gave her debut at the Staatsoper as Violetta under the baton of Barenboim, who had discovered her. She expressed her thankfulness with the same beaming smile she was driving Nemorino out of his mind two hours earlier.
Berliner Tagesspiegel vom 09 March 2008


 The jubilant applause of the audience at the Staatsoper Berlin was something like a subsequent vote: Anna Samuil is one of the most outstanding singers of the Staatsoper ensemble. Therefore she was honoured at the late Friday evening with the Daphne prize 2007 of the ´┐ŻBerliner Theatergemeinde, whose Chairmen Traute Grandke was referring to her extraordinary career. (...) Ms Samuil was very modest when she received the representing sculpture: “I am unbelievably happy. But my success is down to the incredible team here at the Staatoper”.
Berliner Zeitung (Max Raabe) 10 March 2008 

 Eugene Onegin (Tatjana) Salzburg Festival July 2007


Anna Samuil fulfils all expectations in the most beautiful way. The natural royalty of her unstrained and lyrical soprano as well as the abandonment of extroversion is utterly convincing especially in the famous letter scene.
Kölner Stadtanzeiger, Markus Schwering, 30 July 2007


 The singer ensemble convinces with all around striking performances. Ahead of all: Anna Samuil as Tatjana. Her acting and singing performance succeeds perfectly in the change from the infatuated girl living in illusory worlds to the grown up living in cold denial though still in love with Onegin. She has got a brilliantly phrased, lyric and dramatic soprano.
Nachrichten, Michael Wruss, 31 July 2007


 In the Salzburg Festival's operatic lineup this year is Tchaikovsky's most famous and best work for the stage: "Eugene Onegin." The cast features Anna Samuil, a young Russian soprano, portraying Tatiana. This is a starmaking moment for her. All in attendance will be able to say, "I was there when Samuil established herself as a major artistic force." Sure, she has gotten around, appearing in big houses, including La Scala and the Met. But she has now triumphed in a very bright international spotlight. And she has done so in the touchstone soprano role of her native repertory. On Wednesday night, she displayed a beautiful, darkish, interesting, penetrating voice. From beginning to end, she was utterly secure, singing without apparent effort. She did not sing one bad note. And her musical and dramatic instincts were faultless. Rossini (or someone) famously said that opera required "Voice, voice, and voice." True --- but it also requires intelligence, and Ms. Samuil has that, along with much else, in spades.
Jay Nordlinger, the New York Sun, 10 August 2007


 La Bohème (Musetta) - Metropolitan Opera
December 2006


 Another Russian Anna made a strong impression as well. Anna Samuil brought vocal luster and a nice sense of fun to the role of Musetta, the on-again, off-again sweetheart of Rodolfo's roommate, Marcello.
Mike Silverman, The Guardian, 6 December 2006


She [Anna Samuil] did a fine job with Musetta's Waltz — for many of us the highlight of the show — enunciating it as an exotic showpiece complete with generous rubato and a whipcrack of a transitional accent. Singers do not usually invest quite so much angularity on this haunting melody. In fact Peter Coleman-Wright as Marcello sings it much more straightforwardly in the reprise. But Ms. Samuil's instincts are correct: This little gem of a set piece, one of Puccini's most memorable, is meant to be strikingly unusual. She also held her own in the powerful Addio, dolce svegliare quartet, no easy task when asked to sing at the same time as Ms. Netrebko.
Fred Kirshnit, The New York Sun, 7 December 2006

Don Giovanni (Donna Anna) - Teatro alla Scala Milano
November 2006


Anna Samuil, chiamata a sostituire Carmela Remigio, è stata una piacevole sorpresa: una Donna Anna di splendida presenza, timbro naturalmente nobile e linea di canto corretta...
Paolo Patrizi, Drammaturgia, 2 November 2006


Anna Samuil, replacing Carmela Remigio, was a pleasant surprise: a Donna Anna of splendid presence, noble timbre and a good vocal line...
Anna Samuil, Donna Anna con voce intensamente pura...
Cesare Guzzardella,, 20 October 2006


Anna Samuil, a Donna Anna with an intensely pure voice...


Mazeppa - Edinburgh Festival
August 2006


Wojtek Drabowicz and Anna Samuil were the stars of Tuesday's opening night, he for his focused baritone as the ruthless Mazeppa and she for her soaring Slavonic coprano as his young wife, Maria.
John Allison, The Sunday Telegraph, 27th August 2006


 Stein was lucky in having a luxury cast... The outstanding Anna Samuil sang the main female part of Maria with a superbly focused voice, bringing a fine presence. * * * *
Raymond Monelle, Daily Telegraph, 24 August 2006


Anna Samuil's Maria and her mother, sung by mezzo Marianna Tarasova, are sopranos who sing for the aching heart of Mother Russia. * * * * *
Hilary Finch, The Times, 24 August 2006