Sam Furness

Tenor

"Furness, however, is terrific in the immensely difficult title role. Gauchely attractive, he… sings it all with great ease and impeccable style… it’s Furness’s night."

Guardian

"...almost too seductive for a serial romantic failure. This is a voice with star quality, and Furness can float it delicately over a final chord as readily as he can send it slamming to the back of the hall."

The Arts Desk

"The vocal honours of the evening went unequivocally to Samuel Furness, whose performance of Lensky’s aria… was so pure in tone, so full of useless regret, that I wonder if I have ever heard it sung so finely."

Spectator

"Even [Kecal] was outshone by the remarkable Vašek of Samuel Furness, a lyric tenor clearly going places… one of the most complete, funny and touching impersonations of this tricky role that I have seen."

Opera

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Described as having “all the makings of a star” in the Guardian, and hailed as “a lyric tenor clearly going places” in Opera magazine, young tenor Sam Furness has sung major roles for Scottish Opera and in Florence, Santiago and Toulouse, always earning praise for his compelling acting and innate musicality.

Engagements in the 2017-18 season include role debuts as Don José Carmen (Jyväskylä Opera) and Flamand Capriccio (Garsington Opera); returns to Northern Ireland Opera (Ferrando Così fan tutte) and the Teatro Real, Madrid (The Spirit of the Masque Gloriana) and the role of Gaspar in Garsington Opera’s new commission The Skating Rink.

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Title role of Offenbach Les contes d’Hoffman, cond. Philip Sunderland, dir. James Bonas

English Touring Opera, October 2015

Furness, however, is terrific in the immensely difficult title role. Gauchely attractive, he charts Hoffmann’s descent from naive idealism to self-destructive despair with compelling veracity, and sings it all with great ease and impeccable style… it’s Furness’s night.

Guardian

Sam Furness’s tenor as Hoffmann ... sounds almost too seductive for a serial romantic failure. This is a voice with star quality, and Furness can float it delicately over a final chord as readily as he can send it slamming to the back of the hall.

The Arts Desk

The ubiquitous Hoffmann (strongly sung and flamboyantly acted by Sam Furness) is no longer a poet deserted by inspiration but a silent movie director who is equally washed up.

Times

The singing is of exceptional quality. Sam Furness flings himself with total commitment into Hoffmann’s torment – it’s refreshing to hear a British tenor let rip with such full-throated ardour and he plays the part of the hopeless unshaven wastrel to the hilt.

Telegraph

There was no doubting the passion and promise of Sam Furness’ blond-mopped Hoffmann.

Opera

The screening of this ‘lesson in love’ is overseen by Sam Furness’s jaded and disillusioned Hoffmann, a slumped figure of dejection, pathos blending with mundanity - a former Romantic hero now reduced to an idler blowing smoke rings. Furness was tireless in the title role and blended an ethereally beautiful head voice with focused lyrical power and rich warmth. Furness also showed good sense in pacing himself and ensuring that he had the stamina to sustain the lyrical intensity; indeed, he began strongly, but held enough in reserve to offer some thrillingly impassioned singing in the Antonia and Giulietta Acts. He was utterly convincing as the somewhat shabby poet-turned-filmmaker.

Opera Today

The cast were on fine form… Sam Furness has a lyrical tenor voice and he did a great job with Kleinzach’s aria in the prologue which he sang with tongue in cheek heroic gusto… he delivered well in the incendiary scenes in the Antonia and Giulietta Acts where he gave us some thrilling singing and a ravishing beauty of tone.

Seen and Heard International

Offenbach’s Hoffmann is a drunkard, a dreamer, a seducer and a murderer. Played with gusto by tenor Sam Furness, we first see him in the depths of drink, goaded, unsuccessfully by his Muse (mezzo soprano Louise Mott) into producing his next work of genius.

Big Issue

No such problem with the lyrical singing of Sam Furness, who made a beautifully convincing Hoffmann, poet and visionary rescued from his own excesses…

Mark Ronan

Sam Furness in trascendent form…. Furness is lyrical, fearless and tireless in the title role.

WhatsOnStage

Rising star tenor Sam Furness brings burnished and varied tone to his self-destructive Hoffmann.

Stage

Sam Furness is excellent as Hoffmann, producing a strong and expansive tenor sound.

MusicOMH

Baron Lummer in Strauss Intermezzo, cond. Jac van Steen, dir. Bruno Ravella

Garsington Opera, June 2015

Sam Furness turns in a fine performance as a shameless, perpetually grinning Baron Lummer

Financial Times

Sam Furness, as the dashing Baron Lummer with whom Christine is supposed to be entangled, delivered a wonderfully detailed portrait of caddish, wheedling opportunism

Classical Source

Other supporting roles are flawlessly taken. Sam Furness does a perfect comedy turn as the not very bright young fop Baron Lummer

Arts Desk

Sam Furness is a splendidly laconic Baron Lummer.

Music OMH

Sam Furness’s Baron… [is] excellently shambolic

Times

Sam Furness brings some much-needed comic relief as spivvy Baron Lummer

Observer

Sam Furnes’s Baron Lummer offered a well-judged mixture of vocal allure and immaturity of character.

Opera Today

Števa in Janáček Jenůfa, cond. Stuart Stratford, dir. Annilese Miskimmon

Scottish Opera, April 2015

Sam Furness is a wonderfully slippery Števa.

Bachtrack

Sam Furness’s recklessly immature Števa [is] all too credible.

Guardian

Joe in Puccini The Girl of the Golden West, cond. Keri-Lynn Wilson, dir. Richard Jones

English National Opera, September 2014

…young lyric tenor Sam Furness’s voice gleaming occasionally through the textures

Arts Desk

Jaquino Fidelio, cond. Douglas Boyd, dir. John Cox

Garsington Opera, June 2014

For me there were two standout performances. Jennifer France, and especially Sam Furness, in the usually boring roles of Marzelline and Jaquino, acted and sang impeccably and in such a way as to make you care about characters most productions scarcely bother with.

Arts Journal

Making more than is on the page of the somewhat inconsequential Jaquino was Sam Furness, very much the handsome chap who wants his girl.

Classical Source

Lensky Eugene Onegin, cond. Jane Glover, dir. John Ramster

Royal Academy of Music, March 2013

The vocal honours of the evening went unequivocally to Samuel Furness, whose performance of Lensky’s aria before the duel, a piece that can sound maudlin, was so pure in tone, so full of useless regret, that I wonder if I have ever heard it sung so finely in the theatre.

The Spectator

Samuel Furness (Lensky) stood out for his bright, commanding tenor and confident acting.

Intermezzo

…Samuel Furness's Lensky [was] outstanding...with exceptional singing… Furness held on to his top-note farewell with a cheeky persistence that had you gasping. But this was the last night of the run and he could do it, so why not? In a work suffused with poignancy, it was nice to smile.

Guardian

Title role of Albert Herring, cond. David Syrus

Théâtre du Capitole Toulouse, January 2013

From a vocal perspective, the young British tenor is beyond reproach…

Pera Magazine

In the role of the 'May King'…Sam Furness is perfect. His monologues are delivered with a touching spontaneity… His beautiful tenor voice is moving…as an actor he is excellent.

ODB

The tenor Sam Furness was a remarkable interpreter of Albert Herring. Herring is a character who needs a convincing actor-singer rather than just a brilliant singer and this British tenor lives up to the challenge remarkably well.

Beckmesser

The first ever May King at the Théâtre du Capitole is sung by young Sam Furness. This lyric tenor, who will turn 27 this year, already shows pretty amazing qualities of timbre, evenness throughout his whole vocal range and an innate musicality… my goodness, what great promise.

ClassicToulouse.com

Singing the role of Albert, young British tenor Sam Furness is a revelation. A natural on stage, his Albert is genuine and touching. Here is a singer who knows how to negotiate the pitfalls of the score. Not to be missed.

Ladépêche.fr

Vaŝek The Bartered Bride, cond. Peter Robinson, dir. Rodula Gaitanou

British Youth Opera, September 2012

Yet even [Kecal] was outshone by the remarkable Vašek of Samuel Furness, a lyric tenor clearly going places... With Gaitanou’s help, Furness created one of the most complete, funny and touching impersonations of this tricky role that I have seen.

Opera

Sam Furness, a fine tenor who can also act, commanded the stage as the poor, shy, tongue-tied boy who eventually finds his inner grizzly bear by joining a circus.

Observer

All the principals are singers one would like to hear again. Particularly outstanding [is] Samuel Furness, whose portrayal of the socially maladjusted Vasek — a stuttering victim of maternal oppression who finds his vocation in a circus bearskin — is a tour de force.

London Evening Standard

Samuel Furness’s stammering nerd, Vasek [was] pointed and vigorous from the start, though his real blossoming comes in Act III, when this dolt bridegroom advances beyond caricature into a genuinely sympathetic character.

Times

There was no need to make allowances for tonight’s cast. The stuttering, twitching, and completely hilarious Vašek (Samuel Furness)… provided some moments of pure comedic genius.

Bachtrack.com

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