Anna Samuil


Soprano Anna Samuil is among the most sought-after Russian singers of her generation and has been steadily engaged as a soloist at the Staatsoper Unter den Linden in Berlin since 2004. Anna’s international career quickly brought her to some of the most important stages in the world: La Scala in Milan (Donna Anna, Freia, Gutrune), the Metropolitan Opera in New York (Musetta), the State Operas in Munich (Violetta, Donna Anna), Dresden (Mimì), and Hamburg (Adina, Fiordiligi, Donna Anna, Violetta), the Opera Houses in Valencia (Donna Anna), Lyon (Maria in Mazeppa), Tel Aviv and Tokyo (Donna Anna, Rosalinde), Pittsburgh (Violetta, Tatiana), and Baltimore (Mimì), and the Grand Théâtre de Luxembourg (Violetta). A frequently invited guest at international festivals, she has enjoyed considerable success at the Salzburg Festival (Tatiana), in Aix-en-Provence and Edinburgh (Violetta, Maria), at Glyndebourne, Verbier, and the Arena di Verona (Donna Anna), as well as at the Maggio Musicale Fiorentino (Verdi’s Messa da Requiem).

Anna has collaborated with renowned conductors such as Daniel Barenboim, Zubin Mehta, Sir Neville Marriner, Lorin Maazel, Antonio Pappano, Plácido Domingo, Dmitri Kitayenko, Kent Nagano, Manfred Honeck, Chung Myung-whun, Ivor Bolton, Kirill Petrenko, Vladimir Jurowski, Gustavo Dudamel, Andris Nelsons, Massimo Zanetti, and Donald Runnicles. Directors who have guided her career are Franco Zeffirelli, Peter Stein, Andrea Breth, Jonathan Miller, Bernard Uzan, Achim Freyer, Jonathan Kent, Claus Guth, Guy Cassiers, Lindy Hume, and Marthe Keller.


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    21 Sep 19 WAGNER Der Ring des Nibelungen

    “…Roman Trekel and Anna Samuil clicked nicely together as Gunther and Gutrune feeling the heat, intimidation and brute-force of Hagen who chilled the air just by his presence…”
    Tony Cooper, planethugill

    “… as a youthful Freia brings Anna Samuil her rich voice and a heartfelt performance”
    Opern- & Konzertkritik Berlin

    “…Stephan Rugamer’s consummate Loge, Ekaterina Gubanova’s sincere Fricka, Anna Samuil’s lovely Freia.”
    Ako Imamura, bachtrack

    “Roman Trekel and Anna Samuil looked stylish and sang with elegance as Gunther and Gutrune, portrayed as spineless children of privilege.”
    Ako Imamura, bachtrack

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    03 Aug 19 WAGNER Wesendonck-Lieder
    Centro Cultural de Belém, Lisbon

    “Real-life lovebirds Anna and Matthias Samuil came on stage for Wagner’s Wesendonck-Lieder, Anna maintaining the sweetness of her voice even as it expanded into the Pequeno Auditorio, an ideal example of transporting Wagnerian poetry into the drawing room. She was proud at times, like an operatic heroine or a lioness, and Matthias was always at her side, musically sensitive with a marvelous postlude in Im Treibhaus.”
    Laurence Vittes, bachtrack

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    03 Oct 18 WEBER Der Freischütz (Agathe)
    Staatsoper Berlin

    ” Anna Samuil gave perhaps the strongest performance I have heard from her as Agathe, exhibiting a fine sense, scenic and vocal, of tragic catastrophe before the last.”
    Mark Berry, seenandheardinternational

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    19 Jun 18 RACHMANINOV The Bells
    Kölner Philharmonie

    “… here, the vocal soloists earned their ovations: tenor Dmytro Popov with juvenile exuberant power and joy, soprano Anna Samuil with melancholy veiled singing, and baritone Vladislav Sulimsky with a bloodcurdlingly powerful death lament.”

    …hier sorgten die Gesangssolisten für Ovationen: Tenor Dmytro Popov mit juvenil überschäumender Kraft und Freude; Sopranistin Anna Samuil mit melancholisch umflortem Gesang; sowie Bariton Vladislav Sulimsky mit markerschütternd kraftvoller Totenklage.”
    Kölner Stadt-Anzeiger

    “Anna Samuil sang the solo very expressively […] a real large espressivo spread here, with an almost transcendental increase and a movement curve, which, with fine modifications in tempo and dynamics, produced an astonishing variety of colorations.

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    30 Dec 17 PUCCINI La bohème
    Staatsoper Berlin

    “Musetta ist eine temperamentvolle Pariserin und wird von Anna Samuil mit volltönenden Spitzentönen gesungen.”
    “Musetta is a spirited Parisian and is sung by Anna Samuil with sonorous top notes.”
    Opern Kritik Berlin

    “Anna Samuil in the role of Musetta showed really nice acting skills and vocal technique. Her voice was a little bit darker and heavier than in case of other Musetta’s performances (by different singers), but her coloratura was pretty impressive.”
    Katarzyna Kubinska, Opera World

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    05 Apr 17 PUCCINI La bohème
    Staatsoper Berlin

    “Samuil downright dazzled as Musetta.Her Waltz certainly was a showstopper without being too much scene steeling moment from the other characters. She made quite a splash receiving a raucous applause.”
    Opera Today

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    01 Nov 12 PUCCINI La bohème
    Baltimore Opera

    “The incomparable Mimi (Anna Samuil) is the thunder and lightning of the show. With here serene soprano sound and her simplistic wishes for life you fall instantly in love with Samuil’s portrayal of the classic flower girl. Her duets with Vasiliev swell your heart with ardent fever just to hear them; a deep compassionate longing for their stories to end happily. Her final aria, which starts and finishes as a duet with Rodolfo, “Sono Andati?” is as devastating as her ending; a beautiful tragedy that will make you weep with the remorse for love too short.”
    Amanda Gunther for DC Metro Theater Arts

    Anna Samuil gave a sympathetic performance as the tender-hearted, consumptive seamstress Mimi, who, like her fellow Parisian bohemians, struggles with issues of love and livelihood. The soprano’s fast vibrato gave her tone intriguing coloring, and, at her best, her phrasing communicated vividly (….) in Act 3, with gorgeous, long-breathed sculpting of the last lines of “Donde lieta usci.” This was exquisitely poetic singing.

    Tim Smith for Baltimore Sun

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    01 Jul 12 Gala concert
    Bad Kissingen Anna Samuil Pavol Breslik

    “Fast wie in der Mailänder Scala
    Es braucht nicht unbedingt immer ein großes Theater, um echtes Opern-Flair aufkommen zu lassen. Dies bewiesen jetzt Anna Samuil und Pavol Breslik auf der eher kleinen, aber feinen Bühne des Rossini-Saal bei ihrem bestens besuchten Konzert im Kissinger Sommer. Begleitet vom sagenhaft souveränen und ungemein einfühlsamen Pianisten Semion Skigin, boten Samuil und Breslik Belcanto vom Feinsten.
    Von der Arie der Gräfin aus Mozarts Figaro bis Puccinis „O mio babbino caro” präsentierte sich die Russin Samuil in bester Verfassung. So bot die 36-Jährige mit ihrem lyrischen und klaren Sopran den Zuhörern einen echten Ohrenschmaus. […]
    Die ganze Bandbreite ihres facettenreich timbrierten Soprans kostete Anna Samuil insbesondere in der Arie der Tatjana aus Tschaikowskys Eugen Onegin aus. Dabei brillierte sie vor allem durch die unglaubliche Intensität ihrer Stimme, die sie in allen Lagen mit großer Energie verströmte. Plastisch in der Höhe, warm gefärbt in der Mitte und berückend in der Tiefe, sorgte sie hier für Gänsehaut-Feeling.
    […] nicht erst bei den beiden Zugaben aus Verdis La Traviata herrschte eine Stimmung fast wie in der Mailänder Scala.”


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    01 Feb 12 VERDI La Traviata
    Pittsburgh Opera

    Russian-born Anna Samuil, who scored in Pittsburgh Opera’s 2009 “Eugene Onegin,” has the makings of a first-rate Violetta. Her voice is a lyric soprano, focused and straight-toned, with the flexibility to negotiate the high coloratura required in the opening act; sufficient weight to carry the dramatic moments of Act 2; and the delicacy to make her death scene poignant if not exactly a tear-jerker. She is also a glamorous woman and a proficient if cool actress.”
    Robert Croan for Pittsburg Post-Gazette

    “Anna Samuil, who played the role of Violetta, was a delight. Her pleasant voice and articulate body language enhanced the production, drawing the audience in.”
    Juan Acosta for the Tartan

    “As the hypnotically beautiful courtesan Violetta Valéry, Russian soprano Anna Samuil returned to the Pittsburgh Opera (her debut performance was in 2009 as Tatiana in Eugene Onegin) and commanded the stage with a wonderful instrument. ……… the demanding role of Violetta seemed a perfect match for Samuil’s voice as she transformed in each of the three acts from a versatile coloratura to spinto and finally lyric as she sings nearly the entire finale from her death bed.”
    Christian Kriegeskotte for Operapulse

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    07 Dec 12 MOZART Don Giovanni
    Israel Philharmonic Orchestra / Zubin Mehta
    “Russian soprano Anna Samuil is an Italianate Donna Anna — a full lyric soprano, rather than the roof-raising dramatic favored by German practice — but her timbre acquires an exciting thrust above the staff. She negotiates upward leaps with assurance and fairly sails through “Non mi dir,” while her quieter singing suggests vulnerability.”

    Stephen Francis Vasta for Opera News


    “Anna Samuil has plenty of passion and fire as Donna Anna and her voice is supple and warm, but it can really ring out.”

    Stephen Eddins for

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    01 Jul 12 Opera Gala Concert, July 2012

    Anna Samuil[…] hatte das Konzert mit der Arie der Gräfin aus Mozarts „Figaros Hochzeit“ mit glockenhell aufstrahlendem Sopran und eigens eingebrachten Fiorituren viel verheißend eröffnet. In der Arie der Margarethe aus Gounods „Faust“ zeigte sie sich als sattelfester lyrischer Koloratursopran, der sich auch bei der passioniert und packend gestalteten Briefszene aus Tschaikowskys „Eugen Onegin“ dem jugendlich-dramatischen Rollenfach exzellent zu öffnen wusste.
    Richard Hörnicke for Wiesbadener Kurier

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    11 Nov 10 MOZART Don Giovanni
    Bayerische Staatsoper Munich

    “Wunderbar Anna Samuil, die ihre Rolle als Donna Anna mit glockenreinem Sopran beglückte.”
    Udo Pacolt for Der Neue Merkur

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    01 Nov 10 Opening Gala concert of Berlin State Opera
    “Es folgen die Solisten des Ensembles (…) Am meisten Eindruck macht Anna Samuil, als sie mit ihrem Diven-Sopran Slawisch-Leidenschaftliches zu Gehör bringt.”

    Frederik Hanssen for Der Tagesspiegel

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    01 Jul 10 MOZART Don Giovanni
    Glyndebourne Festival Opera
    “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

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    01 Jan 10 MOZART Don Giovanni
    Hamburg State Opera

    “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

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    01 Oct 09 TCHAIKOVSKY Eugene Onegin
    Pittsburgh Opera
    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 for 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.”

    Andrew Druckenbrod for Pittsburgh Post-Gazette

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    01 Jul 09 MOZART Don Giovanni
    Verbier Festival
    “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

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    31 Mar 13 WAGNER Götterdämmerung
    Staatsoper im Schiller Theatre

    Anna Samuil präsentiert stimmlich eine bezaubernde Gutrune mit weichem Sopran
    Thomas Molke for Online Musik Magazin

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    23 Mar 13 Rheingold
    Staatsoper im Schiller Theatre

    Anna Samuil stattet die Freia mit leuchtendem, frischem Sopran aus
    Thomas Molke for Online Musik Magazin

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    28 Jul 13 Wagner Götterdämmerung
    BBC Proms, Royal Albert Hall

    “Anna Samuil’s innocent Gutrune was immaculately realised, both vocally and dramatically.”

    George Hall for The Guardian

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    19 Sep 14 Rachmaninov The Bells
    Konzerthaus Gothenburg

    “De tre ryska sångsolisterna Anna Samuil sopran, Sergej Skorochodov tenor och Alexander Vinogradov bas övertygar starkt i Rachmaninovstycket, men här gör också kören en heroisk insats. Det bitterljuva i musikens uttryck berör på ett sällsamt vis, det är vackert och kärvt på samma gång. ”
    Magnus Haglund for GP

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    19 Oct 14 Wagner Gottedammerung DVD
    La Scala

    “Deserving of special mention is Anna Samuil, whose portrayal of Gutrune is the best I’ve seen, on video or in person. There’s a slight, coquettish suggestion of Madeline Kahn as she knowingly represents a slutty yet prideful temptress angling for the chemically susceptible Siegfried. She happens to be beautiful as well. Samuil did a very fine job with the thankless part of Freia in this cycle’s Das Rheingold and she has also sung Eva. I wonder what bigger Wagner roles are in her future—Sieglinde, at least, I would hope.“
    Andrew Quint for Fanfare Mag

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    11 Feb 15 Rachmaninov The Bells 11 February 2015
    LPO, Royal Festival Hall

    ‘(Anna Samuil’s) Slavic tones evoked just the right atmosphere’
    Alan Sanders, Seen and Heard International

    ‘Anna Samuil’s efforts were considerably stronger and more impassioned.’
    Jack Johnson, Bachtrack

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    03 Jul 15 Verdi La Traviata
    Deutsche Staatsoper Berlin
    “La soprano Anna Samuil construit une figure étrange et attachante, et offre d’improbables vocalises, d’une belle puissance, à l’expression de la douleur et aux plaintes de cette jeune femme étendue à terre sur une voie publique. Ange déchu par le regard des autres, elle revoit sa vie traversée dans la fièvre et l’urgence, en une perpétuelle représentation.”
    “L’ultime chant de Violetta, à la beauté lumineuse, transperce la nuit. Elle sculpte les élans de son âme, auprès de celui qu’elle aime, venu la retrouver trop tard, et meurt debout, telle une bête traquée, hypnotisée par les phares d’une voiture, un projecteur fatal. C’est le drame d’une voix qui s’éteint.”

    Christoph Gervot,

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    04 Nov 15 WAGNER Das Rheingold
    CD Review

    ‘As Freia, the object of the giants’ disgusting desire, soprano Anna Samuil’s effervescent singing leaves no doubt of why she is such an irresistible prize for Fasolt and Fafner.The golden apples that preserve the god’s youth seem to glisten in Samuils’s singing, but the terror that emanates from her pleas to be rescued from the giants’ unmistakable designs is bracing. Unlike many Freias, Samuil scales the upper reaches of her music without shrillness.Her singing of ‘Schwester!Brüder!Rettet!’  pierces the musical tapestry of the performance like a dagger. Offering tones of meteoric allure, Samuils’s Freia is a woman any self-respecting brothers would move heaven and earth to save from the clutches of libidinous oafs.’
    Joseph Newsome, Voix des Arts

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    11 Jun 16 Wagner Das Rheingold
    Deutsche Staatsoper Berlin

    ‘Roman Trekel as Donner, Simon O’Neill as Froh and Anna Samuil as Freia, experienced singers all of them, were memorable in their brief appearances. Ms Samuil’s brilliantly lovely voice fitted her role perfectly.’
    Ako Inamura, Bachtrack

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    16 Dec 16 Puccini La Bohème
    Deutsche Staatsoper Berlin

    “Hier spielt Musetta eine tragende Rolle (Anna Samuil), das Party-Glamourgirl und Gegenstück zu der einfachen, schüchternen Blumenstickerin Mimi. Die extrovertierte Musettas glänzt mit klarer Stimme zum Beispiel in einem Walzerlied in einer Partyszene.”
    Eva-Maria Koch, Kulturexpresso

    “”Ganz groß punkten kann Anna Samuil als Musetta: Gekonnt spitz und schrill im Momus-Bild, mit einem Revue-Walzer vom Feinsten, keifend zusammen mit Marcello die Versöhnung Mimìs und Rodolfos konterkarierend im dritten Bild, gereift und selbstlos für Mimì sich einsetzend und betend im Schlußbild.”
    Kaspar Sannemann, Opera Aktuell



Carmen Micaëla

The Turn of the Screw Miss Jessel

L’elisir d’amore Adina


Le nozze di Figaro La Contessa di Almaviva  
Don Giovanni Donna Anna  
Così fan tutte Fiordiligi

La Bohème Mimì, Musetta

The Tale of Tsar Saltan Tsarevna, Swan-Bird

The Bartered Bride Mařenka

J. Strauss
Die Fledermaus Adele,Rosalinde

R. Strauss
Ariadne auf Naxos Ariadne

Mazeppa Maria  
Eugene Onegin Tatiana
Ionlanta title role

Don Carlo Elisabetta  
La Traviata Violetta  
Falstaff Alice Ford

Lohengrin Elsa  
Das Rheingold Freia  
Götterdämmerung Gutrune + III Norne
Meistersinger von Nürnberg Eva  


Norma title role

Anna Bolena title role
Don Pasquale Norina

Rusalka title role

Faust Marguerite
Roméo et Juliette title role

Manon title role
Thaïs title role

Don Giovanni Donna Elvira
Idomeneo Elettra
La clemenza di Tito Vittelia

Les contes d’Hoffmann Antonia

War and Peace Natasha

Turandot Liu

Il turco in Italia Fiorilla

Otello Desdemona           
Il Trovatore Leonora
Simone Boccanegra Amelia
Luisa  Miller title role
I Manasdieri Amalia


Symphony No. 9 in d-minor op.125
Christus am Ölberge op.85
Concert Aria Ah, perfido! op.65

War Requiem op.66

Messiah HWV 56

Symphony No. 4G-Dur

Mass in c-minorl KV 427
Exsultate, jubilate KV 165 (158a)
Requiem KV 626

Hamlet op.77

Petite Messe solennelle
Stabat Mater

Seven Romances after Alexander Blok op.127

Four Last Songs

A Child of our Time

Messa di Requiem